CHINESE 
ART 


CHINESE ART 


One Hundred Plates in Colour 
reproducing 
Pottery & Porcelain 
of all Periods 
Jades 
Lacquer 
Paintings 
Bronzes, Furniture 
etc., etc. 
Introduced by an Outline Sketch 
of Chinese Art by 
R. L. HOBSON 
Keeper of 
The Department of 
Ceramics and Ethnography at 
the British Museum 


NEW YORK 
THE MACMILLAN COMPANY 
MCMXXVII 


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with China, we Europeans are only beginning to-day to understand 

the real nature of Chinese art. True we have had in the past moments 
of enthusiasm for things Chinese when, captivated by the pretty or grotesque 
in them, we developed a passion for chinoiserie and magots; but our ideas 
were bounded by the already decadent art of the Manchu dynasty, and 
even the Ming appeared to us remote and archaic. 

To-day we have learnt that the Ming was the last and least of a series 
of great periods in Chinese art history, which began with the Han and 
culminated in the T’ang and Sung dynasties. 

Another impression which recent discoveries have profoundly modified 
is that Chinese art developed behind closed doors, unaffected by the doings 
of the outer world. It is now clear that in the greatest periods of her 
history China not only admitted, but welcomed, influences from Western 
and Central Asia—Scytho-Siberian, Hellenistic, Byzantine, Persian, and 
Indian—and that, if in later times she suffered periods of virtual isolation, 
she was ready enough to experiment even with European art when she 
made its acquaintance in the seventeenth and eighteenth centuries. China 
was actually in contact with the Roman Empire in the Han dynasty; and 
again in the T’ang, the period of her greatest expansion, she was in constant 
communication with Western Asia. So that during the years when her 
art traditions were being formed she was absorbing outside influences, and 
in many ways the art of the T’ang dynasty speaks in a language more 
intelligible to the European of to-day than does the more modern art which 
we have been taught to regard as typically Chinese. In the Sung dynasty 
China was more isolated and her culture developed on conservative and 
national lines. During the brief period of Mongol domination which 
followed, she recovered her contaét with the West, only to be cut off again 
in the Ming dynasty. Then for two centuries she was thrown back entirely 
on her own resources, and her arts, ceasing to be progressive, tended to 
cryStallise. Eccentricities were developed, and the extravagant and bizarre 
elements became more and more pronounced. 

It was these latter and less desirable features of Chinese art which 
caught the fancy of the foreign merchant of the seventeenth and eighteenth 
centuries, and the Chinese, ever ready to meet a customer half way, 


i, 


| t is a curious fa¢t that, in spite of four hundred years of dire¢t trade 


CHINESE ART 


humoured the foreign caprice and flooded Europe with things which created 
a false impression of Chinese taste. While these misguided ideas lasted 
there was no inducement to send us the things more truly Chinese, for 
they could always command a better market at home. 

Suddenly in the last two decades the whole situation was radically 
changed. The opening up of China by European-built railways, and 
improved facilities for travelling inland, induced men of science and 
learning to go and study the ancient capitals and the relics of the great 
past which still remain in the interior. Illustrated works of these pioneer 
students, and a few specimens of ancient objects recovered from the earth 
which they brought back with them, awakened European Orientalists to 
the fact that behind the trivialities of the eighteenth century there stretched 
far into the past great and glorious periods of Chinese art hitherto 
undreamt of. 

At the same time the accidental opening of tombs in the course of 
railway construction and other engineering work brought to light a 
quantity of funeral furniture, including pottery models of human beings, 
animals, implements, etc., of great ethnographical and often of considerable 
artistic interest, which threw a new light on the life and industry of 
ancient China. Many of these found their way to Europe and helped to 
feed the new-born interest in things Chinese. Collections were started, 
first one and then another, and the increasing demand for specimens was 
met by a steady and ever-widening Stream from China, until at last a 
market was developed in Europe and America sufficiently favourable to 
attract really representative specimens of the earlier and greater periods of 
Chinese art which had hitherto been jealously guarded by their native 
owners. So rapid, indeed, has been the progress of this movement that 
it has been possible to get together the splendid series of illustrations of 
Chinese art of all periods which this volume contains, and almost entirely 
from objects in English collections. The various departments here repre- 
sented—bronze-casting, jade-cutting, sculpture, painting, textiles, lacquer- 
ing, and ceramics—have been treated by specialists in the several relatively 
expensive monographs in which these illustrations (together with many in 
half-tone, and a text written for the needs of the expert) first appeared,* 
and the reader is referred for fuller detail to these works.+ In this brief 
introduction I can only hope to take a rapid survey of the subject as a 
whole. 

Though the historic period in China does not begin till the Chou 


* The illustrations have been selected by Messrs. Benn, and the descriptions of them are 
those of various experts. 
t, Secips 25: 
6 


INTRODUCTION 


dynasty (1122-255 B.c.), the legendary and semi-legendary periods are 
carried back to 2852, the year in which Chinese chronology is supposed 
to have begun. But no one looked for relics of any artistic effort prior to 
the second millennium s.c., until Dr. Andersson (1921-1924) discovered 
in Honan and Kansu pottery of finely prepared material and good shape, 
and artistically painted in coloured clays, which may well date back beyond 
the official beginning of Chinese chronology. This find gives some idea 
of the possibilities of scientific excavation in China, which is still almost 
virgin soil; but at present all the artistic relics of the second millennium B.c. 
which we have are limited to a few bronzes of uncertain attribution and 
some fragments of carved bone and white pottery found on the site of 
the tombs of the Yin dynasty (1401-1122 3.c.). All these are decorated 
with the stiff conventional patterns which are better known to us from a 
few authenticated relics of the succeeding Chou dynasty. 

The China of the Chou dynasty (1122-255) was a cluster of semi- 
independent States on the Yellow River. It was a relatively small China, 
but it produced such men as Confucius and Lao Tzu, and the books which 
are regarded as the Chinese classics. ‘The Chou philosophers and the 
Chou books of ceremonies have profoundly influenced Chinese life down 
to the present day, and the influence of Chou art never completely dis- 
appeared. « The relics of this remote period consist of bronzes, jades, and 
a certain amount of pottery which has been recovered from tombs. ‘The 
tomb pottery is obviously made for burial and not for use, and in most 
cases it imitates the forms of bronze ritual vessels. The bronzes and jades, 
on the other hand, include objects of real artistic value, though they 
represent an art which was evidently circumscribed by ceremonial rules 
and conventions. The ornament is almost entirely of an hieratic kind, 
and the forms are those of ceremonial vessels; but they are, none the less, 
grand and impressive obje¢ts worthy of an age of great men and lawgivers. 
The only foreign influence which could have affected Chinese art at this 
time was the Scytho-Siberian, and this could hardly have been felt until 
the last years of the Chou dynasty. 

The loose congeries of feudal States was welded into an Empire by 
the great Ch’in conquerer, who took the proud title of Shih Huang Ti. 
In pursuance of his policy of obliterating the influence of the Chou dynasty 
which he had overthrown, he ordered all books to be burnt, and bronze 
vessels, which were regarded as historic documents on account of their 
inscriptions, to be collected together and melted down. The metal was 
used to cast colossal statues, which, in their turn, have been destroyed. 
The Ch’in dynasty lasted only fifty-five years, and its art can hardly be 
dissociated «artistically from that of the Han which succeeded; but it is 


7 « 


CHINESE ART 


certain that about this time radical changes took place. Art was no longer 
shackled by prescribed rules and conventions, and the artist and craftsman 
were permitted to let their fancy range, and to give whatever shape and 
ornament they wished to their creations. The more we learn of Han art 
(and fresh specimens are constantly coming to light), the more we are 
impressed by the fertility of the artistic imagination which was now set 
free. The beauties of natural objects, animals and birds, lively movements 
in processional and historic scenes, are finely rendered; and fancy makes 
play even with the more conventional animal motives which the Siberian 
art of the northern frontier tribes introduced into China. All these 
symptoms are reflected by the brorizes and jades of the period. Pottery, 
too, made a great forward Stride by using glaze, which was doubtless learnt 
from Western Asia; and even the funeral wares assume artistic forms with 
attractive reliefs and incised or pigmented ornament. Wooden vessels are 
coated with red and black lacquers, and on some of them designs of great 
refinement are painted and incised; and the rare Han textiles which have 
been recovered display a surprisingly advanced technique. 

Examples of Han painting on silk or paper are as yet unknown, but 
there is good reason to suppose that the art already existed. Mr. Waley 
quotes a poem which describes the wall-painting in the Ling-kuang palace 
in Shantung in the second century B.c.; and the sculptured stone slabs of 
the same province, which were worked in the second century a.p., are 
clearly based on painted designs. Moreover, it is unthinkable that the 
pictures painted on silk by Ku K/’ai-chih in the fourth century are the 
incunabula of Chinese painting. His mastery of flowing line and “his 
profound and subtle sense of life’? bespeak an art which was already 
mature. 
Nothing is known of Chinese sculpture before the Han dynasty, and 
little survives of the work of that period. The Shantung bas-reliefs are 
pictures in stone rather than sculptures, and practically the only relics of 
Han sculpture in the round are two half-submerged lions in the enclosure 
of the Wu cemetery in Shantung. Though already conventionalised in 
form, these lions display great power and vitality, and prove that now, 
as later, the Chinese sculptor was specially happy in the representation of 
animal force and movement. It is possible that certain smaller objects in 
bronze and jade, such as Mr. Oppenheim’s bear and Mr. Raphael’s ox, 
may belong to the Han period. _If so, they must be regarded as evidence 
of high sculptural ability, even though expressed on a small scale. 

The period between Han and ‘T’ang was full of wars and dynastic 
changes, and its records in the matter of art history are at present obscure. 
But the documents which survive show progress in all directions. In 


INTRODUCTION 


regard to painting, we have already mentioned the great name of Ku 
K’ai-chih; and Hsieh Ho in the sixth century set out in writing his six 
canons of the art, showing that painting had already a clearly formulated 
technique. 

The spread of Indian Buddhism brought with it a religious sculpture 
which reached its highest pitch of excellence in the Northern Wei and Sui 
dynasties. The slender, graceful figures of the sixth-century religious 
sculpture, with their rhythmic flow of drapery, have a special charm, and 
the winged lions of the Liang tombs at Nanking take a high place in the 
great animal sculpture of the world. 

In the classic period of the T’ang dynasty, when China at its greatest 
was, perhaps, the most civilised power in the world, the progress of the 
arts was worthy of the age. Among the T’ang painters are names which 
have become household words: Wu T’ao-tztt, famed for his splendid 
religious pictures, painted with amazing breadth and force; Han Kan and 
Wang Wei, the latter father of the Sung landscape painting in mono- 
chrome ink; and Li Ssti-hsiin, who founded a school of landscape painting 
in colours. To-day little remains of the original T’ang work except the 
provincial religious pictures recovered from the caves of Tun Huang; but 
the influence of the great masters has never been lost, and good copies of 
their work reflect their touch and power. 

The T’ang religious sculptures in the cave temples of Lung Mén and 
elsewhere are characterised by greater fulness of the human figure and 
more dramatic force than those of the Wei and Sui periods. Much of 
this religious sculpture is crudely wrought in accordance with set formule, 
but now and again the Chinese sculptor, in expressing the Buddhist idea 
of deep contemplation and aloofness, rises to sublime heights; and such a 
statue as the colossal Buddha at Lung Mén must be ranked among the 
world’s masterpieces in Stone. It inspires a feeling of awe and reverence, 
and has a presence which is felt, as in a lesser degree we feel the presence 
of the fine pottery Lohan in the British Museum. 

Chinese sculpture, being mainly religious, is impersonal, and few names 
of the artists have survived. Han Po-t’ung and Yang Hui-chih of the 
T’ang period are exceptions, and we are told that the splendid bas-relief 
horses made for the mausoleum of T’ang T’ai Tsung were designed by 
Yen Li-pén. 

Vitality and strength, added to mastery of technique, charaéterise the 
applied arts of the T’ang period. This is apparent in the metalwork, 
jades, textiles, and pottery, materials which the Chinese have always used 
with conspicuous skill. 


The pottery is distinguished by great beauty of line, showing a mastery 
9 


CHINESE ART 


of the wheel and a genius for form. Its decoration is largely in coloured 
glazes—blue, green, amber-yellow, and yellowish-white—disposed in 
splashes or mottling, or spaced by Strongly incised designs. Stamped and 
applied reliefs were freely used, and painting with a brush is not unknown. 
The discovery of porcelain had already been made, though we have yet to 
learn exactly when and how this important event happened. 

The second classic period of Chinese art is the Sung (960-1279). It 
was an age of great masters in painting. Landscape was the favourite 
theme, and its votaries were divided into several schools. There was 
the Striétly traditional school, which followed the older masters almost 
slavishly; but in a moment of reaction from this style the Emperor Hui 
Tsung (1101-25) ordered his academicians to make Nature their model. 
Ma Yiian and Hsia Kuei are prominent among those who abandoned the 
formal conventions of the past, painting with a free style (and in diluted 
ink) those romantic landscapes which are poetic visions rather than mere 
views of scenery. 

The typical Chinese “landscape with figures” was the invention of 
Kuan T’ung in the early years of the tenth century. Other naturalistic 
themes rendered with masterly skill by the Sung artists were birds and 
flowers, and the work of the period in general was chara¢terised by 
“simplicity and nobility of line and the utmost refinement.” Portrait 
painting, too, was carefully Studied, the aim of the artist being, with true 
Sung feeling, to “transmit the soul of the sitter.” 

In sculpture the old severity of line, already softened by the T’ang 
artists, now completely disappeared : the figures are rounded and almost 
sensuous, and the human beauty of the features shows little trace of religious 
asceticism. From this time onwards sculpture shows a definite decline, 
though excellent work was Gill done in the smaller statuettes of metal, 
jade, wood, ivory, and pottery. 

After-generations in China have always spoken of Sung pottery and 
porcelain in reverential tones, and what we know of both fully justifies 
this attitude. ‘The Sung wares differ so widely from the T’ang that it is 
hard to compare their relative merits. The soft, white pottery with 
brightly coloured lead glazes was now definitely replaced by hard porcelain 
or stoneware with high-fired felspathic glazes, displaying a new range of 
tints, mostly monochrome—ivory and cream-white, subtle greens and 
greys, pale clair de lune, deep browns and blacks, and gorgeous crimson 
reds and purples. The shapes are Still refined and simple, except when 
they are deliberately complicated by copying archaic bronzes, and if 
decoration is added it usually takes the pure ceramic forms of carving, 
incising, and moulding in relief. These methods were dictated by the 

10 


INTRODUCTION 


prevalent use of monochrome glazes; but there are certain kinds of Sung 
Stoneware, such as that made at Tz’ Chou, on which painted designs in 
black and brown were effectively used. But whether painted or otherwise, 
the decoration reflects the simplicity, refinement, and the masterly spacing 
which distinguish the silk-painting of the time. Decoration in underglaze 
blue and in coloured enamels on the glaze, though praétised to a certain 
extent on the minor wares, had not yet become fashionable. 

With regard to the other minor arts, though they are less richly 
represented in European collections, it can be stated with confidence that 
they flourished with no less distinétion than the ceramic under the Sung. 
The metalwork of the period is little known, and it is hard to differentiate 
it from the T’ang, but we know that the Sung bronze-workers were very 
skilful in reproducing the ancient Chou and Han types. The same passion 
for the antique, stimulated by great colle€tions which were formed at this 
time, affected the jade-cutters and other craftsmen. 

The few specimens of lacquer attributable to the Sung are either plain 
red and black, which is scarcely distinguishable from the Han work, or 
elaborately inlaid objects following the T’ang traditions as we know them 
from the famous Shoso-in collection at Nara, in Japan. 

In the brief Yiian dynasty (1280-1368), when China was a wing of a 
great Mongol empire extending across Asia, renewed trade and intercourse 
with the West must have exerted a certain influence on Chinese art, though 
the extent of this influence is not easy to determine with the limited material 
at present at our disposal. The Yiian painters, among whom Chao 
Méng-fu is one of the most familiar names, tended to revert to the old 
traditional Style of the T’ang: and if the horse and rider figure frequently 
in the pictures which are to-day attributed to Yiian artists, we may regard 
that as the reflection of Mongol tastes. In other departments the Ytian 
work is so hard to separate from the Sung that it would be useless to try 
and treat the Yiian period separately in a brief sketch of this kind. 

The Mongols, ousted by the native Ming dynasty (1368-1644), were 
driven back beyond the Great Wall, where they remained a constant 
‘menace and a barrier between China and Western Asia. What external 
trade there was was chiefly conducted by sea. Chinese art drew its 
nourishment from its native soil, and it is not surprising to find that the 
painters were mainly concerned with copying the old models. The only 
Ming sculpture of note consists of some life-sized religious figures in bronze 
and cast iron. In the minor arts there were many changes in fashions and 
technique, and Ming workmanship on the whole has a commendable 
Strength and freshness. The golden, or gold-flecked, bronze vessels of 
the Hsiian Té period, the excellently modelled bronze statuettes, the deeply 


II 


CHINESE ART 


carved Peking lacquer in shades of red and brown, neatly finished jades, 
and well-conceived designs in carved ivory and wood, are all worthy of 
mention. 

In ceramics the porcelain industry at Ching-té Chén developed on 
those lines which have made it world-famous. Blue-painted and _poly- 
chrome porcelains came into fashion, and the old monochrome glazes were 
relegated to a secondary position. Painting in coloured enamels on the 
glaze became a fine art, and designs were borrowed from pictures and _ 
brocades. The superb Ming three-coloured ware was decorated in coloured 
glazes—dark violet-blue, turquoise, leaf-green, yellow, and aubergine 
purple—the designs outlined in threads of clay, or by incised lines, and 
sometimes carved in relief and pierced @ jour. Porcelain of the greatest 
delicacy and refinement was made for the Ming emperors and their courts, 
the reigns of Hsiian Té and Ch’éng Hua in the fifteenth century being 
specially noted for such produétions; but Ming ceramics were first known 
in Europe by the stronger and rougher articles, which were made in great 
quantities for the export trade. Naturally these wares are Still more 
familiar to-day than the dainty articles made for native connoisseurs, and, 
though not comparable to the latter in refinement, they have a vigour and 
freshness of design which have earned them an honourable place in Western 
collections. 

The art of the Manchu, or Ch’ing, dynasty (1644-1912) has little that 
is new to show us. Age-long tradition had brought perfect mastery of 
material and technique, but in the absence of new inspiration the inevitable 
signs of decadence appear. Except for clever work in the traditional Styles, 
Ch’ing painting is undistinguished, though it is fertile in pretty designs of 
a minor kind; and, as Mr. Binyon says, this later painting of the Ming and 
Ch’ing periods “‘ has given Europe almost all the floral motives in decoration 
that it knows.” 

In the early decades of the eighteenth century imitation of the antique 
was again the rage. Bronzes and jades were modelled on pre-Han types, 
and porcelain on the classic wares of the Sung and Ming. The ceramic 
art of the time is distinguished by refinement of material and perfection of 
technique, and if there is a lack of spontaneity in the decoration, nothing, 
at any rate, is wanting in the finish of the ware. The wonderful sapphire 
blue of the K’ang Hsi blue and white owes its purity and brilliance to 
careful preparation of the cobalt mineral from which the colour is derived. 
The famille verte, a development of the Ming five-colour ware, is dis- 
tinguished by a beautiful violet-blue enamel, the use of which, hardly 
known to the Ming potters, obviated the difficult combination of under- 
glaze blue with overglaze enamels. ‘The enamel colours—green, yellow, 

12 


INTRODUCTION 


aubergine, and a composite black—are used with fine effect on the 
unglazed biscuit as well as on the glazed surface. But the chief contri- 
bution of the Ch’ing potters to the ceramic art is in monochromé glazes. 
The K’ang Hsi sang de boeuf red, though made to rival the early Ming 
“sacrificial” red, has a character of its own. ‘“‘Peach-bloom”’ glaze was 
another success of the period. Mirror-black is claimed as a K’ang Hsi 
invention, and so is powder-blue, and there are numerous other mono- 
chromes such as iron-rust, tea-dust, soufflé red, mustard-yellow, apple, sage, 
and camellia-leaf greens which are peculiarly Ch’ing, besides the opaque 
colours of the famille rose such as ruby-pink and the “ bird’s-egg” glazes. 

In the third decade of the eighteenth century the transparent famille 
verte enamels were largely superseded in porcelain decoration by the opaque 
colours of the famille rose, in which various shades of pink and carmine 
(derived from gold) play the title-rdle, and from now onwards the famille 
verte enamels rarely appear except in a mixed scheme of transparent and 
opaque colours. With this mixed palette refined work was done by a 
school of decorators which took its name from Ku Yueh-hstian, a maker 
and decorator of glass who flourished at the beginning of the Ch’ien Lung 

eriod. 

: The Emperor K’ang Hsi founded an academy for applied arts in 
Peking, where metal-work, glass-making, lacquering, enamelling on metal, 
wood- and ivory-carving, jade-cutting, etc., flourished under the imperial 
egis for more than a century. The red Peking lacquer of this and the 
two succeeding reigns is distinguished by minute and skilful carving which 
we cannot but admire, even when we weary of its wealth of ornamental 
detail. Similar feelings, indeed, are inspired by most of the eighteenth- 
century Chinese art-works. They are wonders of technique, but lack the 
inspiring touch of genius and originality. 

Since the eighteenth century Chinese art has been in full decadence. 
The best work has been purely imitative, and the rest is hardly worthy 
of mention. It is not that the Chinese have lost all their manual dexterity ; 
their craftsmanship is still supreme, as may be learnt to our cost from 
spurious antiques. But they have ceased to produce anything higher than 
these. In the days when Chinese art was young and virile it created things 
which we now recognise to be among the world’s masterpieces. The 
great religious paintings of Wu T’ao-tzt have disappeared, and his work 
is only dimly reflected by a few early copies; but if they were, as we must 
suppose them to have been, far finer than the majestic fresco of three 
Buddhist divinities now in the British Museum, they must indeed have 
been supreme. The Sung pictures of landscape, birds, and flowers rank 
higher, in the opinion of many good judges, than anything of the kind 

13 


CHINESE ART 


done in Europe. Certainly no European can boast a greater command of 
supple line ah the trained painter-calligraphers of China; and behind 
this dexterous brushwork in the classic periods were poetic inspiration and 
a carefully considered technique. 

But nowhere, perhaps, is the supremacy of the Chinese so marked as 
in the ceramic art. The satisfying shapes of the T’ang pottery, the subtly 
refined monochrome porcelain of the Sung, and the gorgeous Ming three- 
colour wares, are things unrivalled. The influence of the Chinese potter 
is world-wide, and even when he had passed his prime his work was good 
enough to be a model to the nascent porcelain industry of Europe. Indeed, 
his ceramic skill is almost uncanny, and we are at a loss to say which 
is most admirable, his manipulative power, his instinct for form and 
ornament, or his sense of colour, which is as daring and as true as 
Nature’s own. 

In textiles, too, and metalwork the Chinese must be ranked among 
the foremost craftsmen; in the carving of jade and hard stones they are in 
a class by themselves, while in wood- and ivory-carving and in lacquering 
they share the primacy with their neighbours in Japan. 

In short, so much of Chinese art-work is good, and so little really bad, 
that in a contest of artistry they would surely be acclaimed the most gifted 
nation in the world. 


R. L. HOBSON. 
CHINESE DYNASTIC DATES 

Legendary period 2852-2205 B.C. Sui dynasty 589-618 
Hsia dynasty... ... 2205-1766 T’ang dynasty 618-906 
Shang dynasty (called Yin Five dynasties 907-960 

dynasty from 1401) ... 1766-1122 Northern Sung 960-1127 
Chou dynasty . wee 1122-255 Southern Sung 1127-1279 
Ch’in dynasty ... 255-206 Yuan dynatty ... 1280-1368 
Han dynasty... -.t 206. °B.C-—A-D.,.220 Ming dynasty 1368-1644 
Six dynasties (including Ch’ing dynasty 1644-1912 

the Wei, 220-265; 

Northern Wei, 386-535; 

Liang, 502-557)  -.» A.D. 220-589 

PRINCIPAL MING REIGNS 
Hung Wu 1368-1398 Chéng Té 1506-1521 
Yung Lo 1403-1424 Chia Ching 1522-1566 
Hsiian Té 1426-1435 Lung Ch’ing 1567-1572 
Ch’éng Hua 1465-1487 Wan Li... 1573-1619 
Hung Chih 1488-1505 T’ien Ch’i 1621-1627 
PRINCIPAL CH’ING REIGNS 

K’ang Hsi 1662-1722 Chia Ch’ing 1796-1820 
Yung Chéng 1723-1735 Tao Kuang 1821-1850 
Ch’ien Lung 1736-1795 


feist OF THE BOOKS ON CHINESE ART 
(Referred to on page 6) 
ASHTON, LEIGH: An Introduction to the Study of Chinese Sculpture. 
Demy 4to. 60 plates. 


HETHERINGTON, A. L.: The Early Ceramic Wares of China. Demy 4to. 
Out of print. Abridged edition; royal 8vo. 31 plates. 


HOBSON, R. L.: The Wares of the Ming Dynasty. Demy 4to. 128 plates. 


HOBSON, R. L.: The Later Ceramic Wares of China; being the blue-and- 
white, famille verte, famille rose, monochromes, etc., of the K’ang 
Hsi, Yung Cheng, Ch’ien Lung, and other periods of the Ch’ing 
Dynasty. Demy 4to. 77 plates. 


HOBSON, R. L., and HETHERINGTON, A. L.: The Art of the Chinese 
Potter, from the Han Dynasty to the end of the Ming. Demy 4to. 
153 plates. 


KENDRICK, A. F., and TATTERSALL, C. E. c.: Fine Carpets in the Victoria 
and Albert Museum. Folio. 20 plates. 


Koop, A. J.: Early Chinese Bronzes. Demy 4to. 110 plates. 


POPE-HENNESSY, DAME UNA: Early Chinese Jades. Demy 4to. 70 
plates. 


STRANGE, LIEUT.-COLONEL E. F.: Chinese Lacquer. Demy 4to. 60 
plates. 


WALEY, ARTHUR: An Introduction to the Study of Chinese Painting. 
Demy 4to. 50 plates. 


. 


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; iN . hy ; % 
‘Sar 
Oe et 
« 
‘ 4 
: ‘ . p 
1 ee 
, eo}! 
oe ‘ 
“ are ? 
ae 2 Eee: ; 
a re) ‘Vy Da es ae 94 
ae hone RE, ewe Mea wire, 


1’ Ae 


Oe ds 


JOSEPH LIANG 
351 Sun Mon Way ae 
pce : e Los ANGELES. CALIF. , a> 4 OA 
Wine-jar with tiger-mask handles and rings of red pottery 
glaze encrusted with golden and silvery iridescence. 


Han dynasty. H. 17°5/’, 


Ki 


Amphore avec anses tétes de tigre et anneaux en faience 
Feuillage et incrustations irisées or et argent. “a 


Han. H. 446 mm 


Weinkrug Griffe, mit Tigermaske und Ringe aus rotem St 
laubgriiner Glasur, eingefasst von goldener und silberner Lu 


. 


Han Dynastie. H. 446 mm. 


“~ 
7 


. + 
2 


PA 


it. 
a 
2 
yr 
z 


; Sa 
3 div SOR: shape shoe | “bi ihe we otns clo await 


: fa gh 291g bas 


Ling Rdg ae We 


each gael. a, 


Pha ° 


' 1 oneupes? inst 


Pe ‘ 4 


at 


- emtit pry He - ify igen 


< 


Kat : 
* 


Figure of a camel with rider. Soft, white pottery, with 


T’ang dynasty. H. 28", 
‘ ay ae a 

Statuette. Chameau et cavalier. Pate tendre 

T’ang. H. 714 mm. a 


ped hen no noi 2 to swgid 
are1g Hjiw 


yReayb gas l Pe 


myo. eons usryi'd 
O yilodaoiqesg 


Ill 


a 


Figure of a lion on a rocky base. Soft, white pottery, with glaze splashed 
with green. 


T’ang dynasty. H. 10°5”. 
Oppenheim Collection. 


Statuette. Lion sur un rocher. Pate tendre blanche éclaboussée de vert. 


T’ang. H. 267 mm. 
Collection Oppenheim. 


Figur eines Lowen auf einem Felsen. Zartes weisses Steingut mit grin 
gesprenkelter Glasur. 


T’ang Dynastie. H. 267 mm. 
Sammlung Oppenheim. 


wT 


mottled with green and yellow. 


Ewer of hard, white pottery, 


Tang dynaty. H. 10-6". 


Aiguitre. Pate dure blanche. Décoration appliquée en relief. 


de vert et de jaune. 


T’ang. H. 270 mm. 


Die Glasur griin und gelb gefleckt. 
T’ang Dynastie. H. 270 mm. 


ett? ifeh Fo woo bas in] 
Pb -gsdoier Yaew 9279 Loawolos 


ie ‘as Ve pra or pitt $ t 


mete list by sea chk Dinusats ple stron sn . 
Sy age nes SRB ab Penal ob ge isl vol 


\ * ‘ 


' eas HH Seiioui yee a “a wieeel 4 " 


og a a aad e ; Cr ‘ : ee ) — e ‘Hs oe 


7 


i Aainith oun rere onepterdiod vets aitdlos at he 
ae bniag pata AG? giwO2 nid wyenlO 


att ‘anit af res hoy dpivert 


Spam sae te (pi 
« : 
+ 
~ 
so 4 
hy. > 
"4 2 : 
Lee 
pre 


= 


Jar and cover of light buff pottery with wash of white slip, the glaze 
coloured green, with touches of blue and yellow. 
Lung-ch’iian dynasty. H. 10°5”. 
Eumorfopoulos Collection. 


Vase A couvercle. Poterie chamois clair, ouvragée d’argile blanc. Email vert 
avec des touches de bleu et de jaune. 


Fabrique de Long-ts’iuan. H. 267 mm. 
Collection Eumorfopoulos. 


Deckelkrug aus hellbraunem Steingut mit diinnen weissen Streifen. Griine 
Glasur mit Spuren von blau und gelb. 


Lung-ch’tian Dynastie. H. 267 mm. 
Sammlung Eumorfopoulos. 


& bau momsnio beeioni bas qile otidiw to desw caiw y91I0q aI lo obo 
-wolloy fas testy bewolos ylisoo! et doidw .ssclg 

“e-8 HH .yftsnyb gnoe'T 
zoluogotrosts a. 


| auso2 dV STg noid, wily oanld os opting ai19t0F ~—.sllis1u08 
f PWR ed ia aby bs ray ‘ob soslq a9 s281q sb S10lo2 


* otis ited ; Nya sth St 

7 F " oan an 
A ek Leeuw weet tom ois Hoyas’ T 

. own worksite.) ' wr 

7 yn Pike eines *.. V2 
eo Pe me , vy, " 3! 
1. < a af soit. Ve o we 4% ay SiN § 

ie fat ¥ for es x. vi 

— Yt eee || (ES 


bed wont, fiseriow onstib; tim .od Saebinais2 suBiD 
4) baw aug vinwealial sib xugele ‘pio winw nao 


a ¥ 
Bogie min Sis oe / sieay gas'T 


glaze, which 1 1s pete Slowed green and eRe 


T’ang dynasty. H. 8°5/’. 


coloré de rake en Hes de vert et de jaune. 


T’ang. H. 216 mm. 


Graue Steingutflasche mit diinnen weissen Streifen und 
menten unter einer Glasur, die stellenweise grun und gelb gefarbt 


T’ang Dynastie. H. 216 mm. ‘ UN 
Sammlun 


tion ba bas bi val ilo. ahi (oy hd. ib » Yo toq-inieW 1 


# _. Sbieivo. snigiodus 


=> Nault Clty & 


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w bodesiqa vl bola ni se dim is30q ‘tise Shoe Yo o2eV .s 
ould 


we 4 * 
ra fa oy d *; 


ae Jen Ae beg YWeenyb gas'T 


tae rath, bun are Be 
t 


ausimini'l & snus; lism .eiorteds sgu01 sitsI0 = suns & JOT «1 
suoinixa'l £ snigiodus’b 


ino ofo HH .gns'T 
indo noiPrallod 


.uald ob Seavorlls> rtels sling fun foal aio S361 coesV << 


. “gmt fer HH .gas'T 
“ Hyg. 3 , 


‘ A aes } $2 aie E op = - 

3 we west ade won Sd sonnei euB mien I 
. oa Bt AS a ie Shi 

nt oo. u * _ iit gee fy 


Ne 


0 ano vba sire swgoiae ses hs iar ene av 
3 he ete chai dsdanqery ueld 


nto ner Hh oifeun Cl gas T 
i wedi “bo eat Se Pe 
A 
‘ 
* » 
* 7 x Lee 
ye _ Fr. : ’ ' ‘ 
; , - a } ¢ 2 


> 


n Aan ma ar. _ 
ee BS ee tee i. a 
ate oe oes 
‘ ie. hotel te % ? * 
a , r hee = ny vf 
x ae i Ss y a at 
. ; * me M 
= : ~~ ' 
; : : ‘ 


1. Water-pot of reddish buff pottery with yellow glaze inside and 


Bie outside. 


T’ang dynasty. H. 2°75!’. 


blué. 


T’ang dynasty. H. 4:9". ae 
Victoria and Albert I 


1. Pot 4 eau. Poterie rouge chamois. 
d’aubergine 4 l’extérieur. 


T’ang. H. 070 mm. 


2. Vase. Pate tendre blanche. Email paille clair éclaboussé : cs 


T’ang. H. 124 mm. 


1. Wassertopf aus rotbraunem Steingut, innen gelbe Glasur, aussen 
Aubergine. d ‘ 


i 


T’ang Dynastie. H. 070 mm. 


’ 


blau poaneeakelt ist. 
T’ang Dynastic. H. 124 mm. 


Roe ee | Cine 
ews 
i i ! 4 
é ra ‘ Gaal x 
¥ rz a mui ‘ 
¢ n 
een ee ners Rtg ‘ae hye ot TP isius aie oo. F 
ashe cballon nnn ‘gy Byte oo ilgthey es 
ae Meek: i pont aus 3 anh ‘ Mae 
: ry F at % Bates iaecd 
ee : , ie 
an ’ Pe ee 
Fay Yet 


ind og: id ie Saag E GRHOTL ard: nie 
ar iyo ob wafouer inainersyal fa. atbinnid HOURS 6 ut vit 
Sy rece we aa Wine eThboep Hie hanes Wom’ nat b mc | . ry 


oe ee fh: “ae i a} ar vee ss : ) | 


. bag bit i a. “yin of 4 tan 
pote Weal 


the whole covered with “transparent yellowish glaze. 


Late T’ang apnaann H. 15-5". 


d’un émail transparent une 


Fin des T’ang. H. 395 mm. 


é 


Glasur bedecit 
Spate T’ang Dynastie. H. 395 mm. 


' 


7 
=! — Taraneateqo deilerig diiw stew iecathtiei yo1g to Iwod-diwG or 
‘sbieni oxelg oaul-ob-stisls bas sbiziuo 
dh Se - Wisp. gaue sisw Besaagal 
ee ei nba tS Me age 
ie Sia ce “sah Pitt nated jot ee 
awoidsai'l § saul ob tish ; 
erie 081 I anode = nui sb supiide’l 
a@ worssllo) : 
smuoitorai'l & é ving snsognsr lice’ cing .seixy onisios1o1 .odlud loll .c 
: susairhtx3'l & orqairog ob Sys1 Jo not we 
* . am tps 1 ynoe niall ob suprided 
qolrocwA woilalted 
‘ ae yee “selinds adi. 2 
PGR Sets gee = é nee oan ; % 
soll wi Bi, > ra 
aul, “pb pmsizileqo 
se — a ; e, 7 aa 
oe 


IX 


1, Bulb-bowl of grey porcellanous ware with purplish opalescent glaze on the 
outside and clair-de-lune glaze inside. 


Chiin ware. Sung dynasty. L. se Sk 
Schiller Collection. 


2. Bulb-bowl of grey porcellanous ware with thick opalescent glaze, grey on 
the inside, and grey Streaked with purple and splashed with grey on the outside. 


Chiin ware. Sung dynasty. D. 9°5”. 
Eumorfopoulos Collection. 


1. Bol bulbe. Porcelaine grise. Email pourpre changeant 4 V’extérieur et 
clair de lune a lintérieur. 


Fabrique de Kiun. Song. L, 180 mm. 
Collection Schiller. 


>. Bol bulbe. Porcelaine grise. Epais émail changeant, gris 4 l’intérieur; ton 


ta A > = 
sur ton et rayé de pourpre a V’extérieur. : 


Fabrique de Kiun. Song. D, 241 mm, 
Collection Eumorfopoulos, 


1. Schale fiir Blumenzwiebeln aus grauer porzellanartiger Masse, aussen 
purpurn opalisierend glasiert, innenglasur mondscheinfarben, durchsichtig hell. 


Chiin Fabrikat. Sung Dynastie. L. 180 mm, 
Sammlung Schiller. 


>. Schale fiir Blumenzwiebeln aus grauer porzellanartiger Masse mit schwerer 
opalisierender Glasur, innen grau, aussen grau und purpurn gestreift und grau 


getupft. 


Chiin Fabrikat. Sung Dynastie. D. 241 mm. 
Sammlung Eumorfopoulos. 


° ge itv ae ead Og io Jog rowolT 


Senge 


i on ite aypnde 


* : 
Vo ae 
17 
= 

= 
+> 4 
a - 

> 

Z 


, - . i nic ae i 4 2 s- 
a i Ke ite 
+ : : ‘ a as 
f-< sd Shi 
; 7 a r 
: ess 
Flower-pot of grey porcellanous ware with opalescent glaze of rp! 
“ io Se 4 


flecked with grey. | 
Chiin ware. Sung dynasty. H. 6°5”. | % : 3 


; 
- 


Pot A fleurs. Porcelaine grise. Email changeant pou r 
Fabrique de Kiun, Song. H. 165 mm. Shes 


Blumentopf aus grauer porzellanartiger Masse mit opé 
-purpurnen Schattierungen, grau gefleckt. 


Chun Fabrikat. Sung Dynastie. H. 165 mm. 


h hae - 
ey.) Sd 
oe? 
ba § 
} 
7 ‘ 
‘ 
‘ 
/ 
4) 


i 
Ds 
- 
= 2 
i 
-_ 1 
: ng 
. 2 
P 
Ld 
- 
«4 
7 


BIZ I2cleqo ould olaq dtiw aisw 2uone!losxeq otistw fletyarg to Jog-9isW 

. 22oieg Alea diw bolum 
~¢°% He iyleanyb gnug worew neu AA a ies 
shanti 


2 aslo, 4 


‘pold tos verter real iets asl aninhsie. ara’ & 109 


23 BIO 


ana g® TL gaee  iitoA ob supridgd a ay 


‘ sailed AE Bien 7 Se Rees * 


“Supldllod svc gitwnasllass6g peeiow wer eiRzlqasvizaW 
; eee 2 Ngued onuepng weed 


go emie08. Hee siten7G enue cade. neu A 


Water-pot of greyish-white porcellanous ware with pale blue « P . 
marked with purple patches. f 

Kuan ware. Sung dynasty. H. 3° 5. 2 
Alexand 


Pot 2 cau. Porcelaine blanc-grisatre. Email changeant bleu 
pourpre. | | ae ik 
Fabrique de Kouan. Song. H. 89 mm. 


Wassertopf aus grau weisser porzellanartiger Masse hellblaue 
Glasur, purpurn betupft. oo 
Kuan Fabrikat. Sung Dynastie. ‘H. 89 mm. 


7 


kK 


atronalloo1ey Yo 228V ot 
“ogc has awob wo ybslgile 2 


dw 


Mh. HH wyfsnyb gave 
| 


sila910q lo qu us 
Insxzatsqo lo zagKze6g 


ees 3 
. dt 


té aden _seiexd liso om. eon) quod 


wo 


5 | ae 


1. Vase of porcellanous Stoneware with blue glaze splashed with red. 
is slightly cut down and bound in metal. Be: 


Sung dynasty. H. 43”. ; ‘ae 
. Davis C 


2. Cup of porcellanous stoneware with crushed strawberry glaze oO 
passages of opalescent blue inside. : aa 


7 c 
Sung dynasty. H. 34”. 
Alexander 
e 
1. Vase. Grés porcelaineux. Email -bleu tacheté de rouge. ye 
légérement cassé et serti de métal. ag 
Song. H. 104 mm. 
Te Coupe. Grés porcelaineux. Email fraise écrasée an 
opalin, par place, a Pintérieur. 
Song. H. 80 mm. ; 
Colle 
> 
1. Vase aus porzellanartigem Steingut ‘mit blauer, rot getupfter 
Rand ist etwas abgeschliffen und mit Metall eingefasst. on 
Sung Dynastie. H. 104 mm. | 
: 2. Tasse aus porzellanartigem Steingut, erdbeerfarbene © 
die innen mit blauen opalisierenden Streifen durchsetzt ist. — 
; Sung Dynastie. H. 80 mm. hii ‘ 


} a 7 
1 » 7 . 
“as 
* . 
2 
1X M3 
ed 
: 
Suld sfuil dive stew “mid soe” to s26V 
“ev p BL afktenyb gane 
qiuq div: bader iq osehy oe jdyil bw siewsnole 2408s Hasq to lwol .s 
a ae et 
‘ : ear if eeeny gnu) | 
- i 
; ‘ = a" « 4 a “ “ o™ - 
quoi sb Supt nelb-oold lism nuvi ob oshoot iT seeV 
= ; mun oct HH venoe 
AOA woilsstio 
saqusog ob Sedoer Vieb-weld lice d sasnibisstod 21) off 
ma 8 .H -gno2 
* a oy 
2 ee 
gfO ori Phen 30% sunldbd aes? ido fase ae BV : 
‘ _ Ag ED re erent f enue 
f ed is tO eZ a . 
a ey ota eae 
a. “out a snoijpcatlloeey Fins ated? < 
Ee me ptt es. Fok »— aueslO 


@.c% 
be garaslacr snd 


° 
, 
« 
¥ - 
e al - 
> ee 
i . - * 
’ 
@ 
2 
o r - ¥ 7) ? 
ea | ce a 


- 


¢ i 


id 
A 
a 


XUI 


1. Vase of “soft Chiin” ware with light blue glaze and red marking. 


Sung dynasty. H. 4°75". 
Eumorfopoulos Collection. 


2. Bowl of porcellanous Stoneware with light blue glaze splashed with purple. 


Sung dynasty. H. 3:5”. 
Alexander Collection. 


1. Vase. Pate tendre de Kiun. Email bleu-clair marqueté de rouge. 


Song. H. 120 mm. 
Collection Eumorfopoulos. 


2. Bol. Grés porcelaineux. Email bleu-clair taché de pourpre. 


Song. H. 89 mm. 
Collection Alexander. 


1, Vase aus weichem Chiin Steingut, hellblaue, rot markierte Glasur. 


Sung Dynastie. H. 120 mm. 
Sammlung Eumorfopoulos. 


2, Schale aus porzellanartigem Steingut mit hellblauer, purpurn betupfter 
Glasur. 


Sung Dynastie. H. 89 mm. i 
Sammlung Alexander. 


hy, a 


he se . eryoNg . aval ; 
haggs shi vob steno to ie: ibiwe . 


> 
_ 


— 
Fie, a5 


+ See 


add: shih. ar 
7 pis. if 


XIV 


Plate of greyish-white porcellanous ware with bluish opalescent glaze marked 
with patches of purple blending with green. 


Kuan ware. Sung dynasty. D. 7-4”. 
Alexander Colle¢tion. 


Assiette. Porcelaine~blanc-grisatre. Email changeant bleuatre tacheté de 
pourpre fondu de vert. 


Fabrique de Kouan. Song. D. 178 mm. 
Collection Alexander. 


Teller aus grauweisser porzellanartiger Masse, bliuliche opalisierende Glasur, 
griine und purpurne Tupfen. 


Kuan Fabrikat. Sung Dynastie. D. 178 mm. 
Sammlung Alexander, 


— 


" e ¥ 


anh: ft 
age fe ts, 


vues ie " ‘hha ae aN ee 
he @uobluorls oily I eee, daily diiw ould 


| A edanaryb ysis dhe 10 yan are fio” 


1M) [ sstaoyunedla fiend ose prey ro 
: ne : a "ee Pacaeetoe aes be vital 


rhjnbibul steal sapclr 4 e eee oot 
bd aioe tsio Nagriwgiuy, i) Bibnove1 rowel 


‘ yi adit vobo F gas ky. otis W 


<P 4 . 
“yt Spi 
%, : Ly 
Ww yi ” 
ee : 
°, . aW ( 
bee eat ° e 
a a2 a 
, 5 
tO tigae Sy Bei id oa ‘ ea 
y & ime \ as eee .s ap 
» "he ar 


war Ueg ae Re anal 


a 
< 


blue, with purplish ment at the setae, 
“ Soft Chiin.” Yiian or early Ming dynasty. H. 45". 


Cruche. Grés chamois. Email changeant Tekan © craqi 
clair. Panse tachée de pourpre. : 


Pate tendre de Kiun. Yuan ou début des Ming. zi II 


‘ 


Krug aus braunem Steingut mit leicht briichiger opalisieren¢ 
blauem Lavendel mit purpurnen Zeichnungen am Oberteil. 


_ “ Weiches Chiin.” Ytian oder friihe Ming Dynastic. #H 11. 1 


& 


ee Oe a 


A 4 f . > 
— Bw 
.s fi 
. / 
mea y ; 
a, 


* 


anv ausohuliog W304 omg, jo seev senaoal . 
calquag dan bajain yoy tobnovel ie 


ths G yenyls qaue wow aiid 


Soar ate suv sangbtionid ae 5 tywod wollsde . 
ert We PS ony dtdvaq dai eet yng 


Nites 


ge enue mew abdO 


ve 


. - 
ey * a 


SF 


prints Sail Nicol Se siittmiol .enoone.& oenV .1 
> au a9g ob Sidi 


mn 08 (CF ano2 aid Sb supinds] 


“3 ee 
“ce 
>) 


sing 9 ry wget, finer, gris ~“tielsorod Sne[ .s 


feat bit a ye see eit Lob oupiadel 


shf t9yircastlsiog TOHETY 28 sinrtoecedib Ee 


: soinnede erg | suseste Paihallobavel nF 
# ee 8 a “sit wee “edinds4 ati) 


é +" es A Mg 


hac sion eld gag 199673 2uR e abndoe odiel Us 
=the Alps mpg auteoke 9 TLE 


Bs 
a ae ue ting 


ee sy 


1. Incense vase of grey porcellanous ware with smooth opalescent g 
pale lavender grey tinted with purple. f 


Chiin ware. Sung dynasty. D. 3-4”. 


2. Shallow bowl of grey porcellanous ware with opalescent glaze of 
grey splashed with purple. 


‘ : Chiin ware. Sung dynasty. D. 5°25”. 


teinté de pourpre. 


Fabrique de Kiun. Song. D. 86 mm. 


7 as 2. Jatte. Porcelaine grise. Email changeant gris lavande tacheté 


Fabrique de Kiun. Song. D. 133 mm. 


. Weihrauchvase aus grauer porzellanartiger Masse mit glatte 
pili ae Glasur, purpurn schattiert. ae 


Chiin Fabrikat. Sung Dynastie. D. 86 mm. 


grauer Glasur, purples ag 


Chiin Fabrikat. Sung Dynastie. D. 113 mm. 


mM 


: Ditintabeng lo saa! . | 
- et ee ae Fy ) 


bee 


a Niet ob wir = agin 


ce 1S end ae ee 
| sae Sa eae 
: ; Plate of greyish-white porcellanous ware with bluish opa os 
\ with patches of purple blending with green. . 
Kuan ware. Sung dynasty. D.7-4". 
Assiette. Porcelaine blanc-grisatre. Email changeant 
pourpre fondu de vert. a ok ems 
Fabrique de Kouan. Song. D. 178 mm. * ae 
Teller aus grauweisser porzellanartiger Masse, bliuliche 
griine und purpurne Tupfen. dea 
Kuan Fabrikat. Sung Dynastie. D.178 mm. _ - 
) 


\ 


. = 
“5 
~ 


let %, 
, 4 oo. 
iy 
Seu, . mY 
* n 
‘ ” “ 
‘ “ a 
‘> * 
4 “Opes 
f rr ae 
ea 3 Fh phe 4 
te Reng 


sbaplaasg ‘aan thie cahgiRele fud to a6] 
esbluode dls 3 egaabins deilrqiug isiw ,ould 


ate A Albuagh gail tio 1 watt nfl fioe *” 


A) lee 


én Sas sasaynedy ipa 5 iba foe Pious) 
| aid -2ijtu9g ab odibns, eps isl 


fiat ain eh wid uO 100 aula ob ais ot 


+ 
ty . a 
* 2 
ei? 
4 
yr - os 
ies ij 3 
sf wi 
z a ‘ we 
/ my - 
me / : = : ‘ox 
Sy anh ‘a ¥ ~— 


> rohote Hideo ‘opieboad tubist. diva ‘toquisit re. nists eve guid 
oe Se — i Laer aenicet erscin ge vine al vod moueld 


~ a: eee” 
‘are ug 
A 7 
rs ee htae eve 
re ae te 
Y% 
os 
ee ae eit 
* 
- Lm 
a iS 
e @ - 
ae 3? te 
a 7 } = 
>. - a a _ » » 
iT _ ; 22 J hd * i : ; ay 
7 J >! ane > a 9 


‘ 


XV ¥ 


blue, with purplish alte at the shoulders. 


“ Soft Chiin.” Yiian or early Ming dynasty. HL 4'5". 


ae 


Aleindes | lecti i 


Cruche. Grés chamois. Email changeant légérement annele blew le 
clair. Panse tachée de pourpre. < 


3 eau & are 


Pate tendre de Kiun. Yuan ou début des Ming. H. 114 mm. 


Krug aus braunem Steingut mit leicht briichiger opalisierender fe 1s 
blauem Lavendel mit purpurnen Zeichnungen am Oberteil. 


“ Weiches Chiin.” Yiian oder frithe Ming Dynastie. H. 114 mm " xh, 
Sammlung Al 


wy 


; ~ 
i 
peel bag Beans yory arena; de 
ave gc eva yan aw aid 
2 pe shi 3 aww ¥ son ps BS vod wolled2 
: 2 iqauq diiw badeslge yorg 
cs ee oe @-G .yenyb gau2 wow aiidD : 
aig iat | hi Srtllya0l nso & seeV wt fi 
© 29  .sqpwoq sb Sinis3 a 
een be 1 Bst0e “fue ob suprideT a met 
Pa. gniehs or 7 soite[ -< ; oe 
ee > Se 
yd? cen of suprised 7 
ee 
ian ald xine eae #8 sailed ag £ ) a 
ee s gen muse uel 1SULTY # 
“ott hs ioe saline auto bi ; 
: : 2 = 2a > - 
ey ae = a a ae 


1. Incense vase of grey porcellanous ware with smooth: opalescent glaze 
pale lavender grey tinted with purple. 


Chin ware. Sung dynasty. D, 3-4”. 


2. Shallow bowl of grey porcellanous ware with opalescent glaze of oe 
grey splashed with purple. 


Chin ware. Sung dynasty. D. 5:25”. 


1. Vase A encens. Porcelaine grise. Email lisse changeant gris lavande 
teinté de pourpre. 


Fabrique de Kiun. Song. D. 86 mm, 


2. Jatte. Porcelaine grise. Email changeant gris lavande tacheté c 


Fabrique de Kiun. Song. D. 133 mm. 


. Weihrauchvase aus grauer porzellanartiger Masse mit glatter 0 pa 
hella avendelfarbiger Glasur, purpurn schattiert. 


Chin Fabra. Sung Dynastic. D. 86mm. * 


2. Flache Schale aus grauer porzellanartiger Masse mit opalisierender a 
grauer Glasur, purpurn getupft. \ 
Chin Fabrikat. Sung Dynastie. D. 113 mm. 

: Sammlung 


6-2 RS ieee 
rs F ate . 
a -¥ Pee 
44 ay - o> ; ts hey 
fv vO SA % 


i ahr. wom sine OG a loatog jo r92ls9dl 
© sanoad insions as lo oly ods 


2 


ae e A ay = oisw asi do-gaul 


ae es . _ i? Jolodod 


ons odor 


oes, % : ae 
a iy ‘ ae p's 
ri J " 


‘¢ 


me, shia gai elt capageton aus wool | 

; rel ie ms MM wey rua Ssno1 noupuas 1909 
: iba ‘ - 

Jct oa sine ane, asdindsT aii 'do-gnsst 


ae a 


XVII. 


Beaker of porcellanous ware with grey-green celadon glaze. The design is in 
the Style of an ancient bronze. 


Lung-ch’tian ware. Sung dynasty. H. 9°5”. 
David Colleétion. 


Gobelet. Porcelaine. Email gris-vert céladon. Dessin dans le Style d’un 
bronze ancien. 


Fabrique de Long-ts’iuan. Song. H. 241 mm. 
Collection P. David. 


Becher aus porzellanartiger Masse, graugriine Seladonglasur. Die Form ist 
einer antiquen Bronze nachgebildet. 


Lung-ch’tian Fabrikat. Sung Dynastie. H. 241 mm. 
Sammlung David 


inte ge a! ath gt vere dct Pet 


: 
yy 


| Se: swe to's ene 2 mage BoginT I 
oe oN Pa asalg nobsla. 


Taos 


i fo ae ree. “yen gaz. sob fei do-gnut 


adh 
. 


#5 F : : Te a -ON aul 


. Pa WT “tech Bie ar asi doy oud 


— 


lind lismH “oaiheing-onsid syi¢isoel jensor & boii senV .x 


: > : Coa apr. .gao2 | pat e-gaol sb supiidst 
mAGSA noitsilbd ~~ il 


2 slfq siovzirg lisa ovheitg-onsld onislox1iol .ens0n9 & o2eV 
| Aobsldo ol 


mm @2 HH .gno@ .asui‘e-gnot sb supine 


eo fee 
# 5a PBs, ; . ‘ 
“dine ” J 1 ty : ‘ “ 
pata Spun geutinr fos Dep vst: fo nittin 
ar - -* aweptgaobsls2 Seed 
& “go a a oihoary : Ree mdindst Bai ‘th goods 
; as 7 gly Seah ganda ia 
4 tumilod g sebsg pniseeiswenisr ous : sacvelowerlisW i 
PR ngien 53 = pau: AS Sut; Sis . 


= ten ee a ant ae ‘lt ani fimgaund 


' 
Ma, 


m 


XVII 


1. Tripod incense vase of greyish-white porcellanous ware with lustrous grey 
celadon glaze. 


Lung-ch’iian ware. Sung dynasty. D. 5°75". 
Raphael Colle¢tion. 


2. Incense vase of greyish-white porcelain with a pale greenish-grey celadon 
glaze. 


Lung-ch’iian ware. Sung dynasty. H. 3°75 ‘. 
Raphael Colledtion. 


1. Vase trépied A encens. Porcelaine blanc-grisatre. Email brillant céladon. 


Fabrique de Long-ts’iuan. Song. D. 146 mm. 
Collection Raphaél. 


>. Vase A encens. Porcelaine blanc-grisdtre. Email gris-vert pale tirant sur 
le céladon. 


Fabrique de Long-ts’iuan. Song. H. 95 mm. 
Collection Raphaél, 


1. Weihrauchvase auf Dreifuss, grauweisse porzellanartige Masse, glanzende 
graue Seladonglasur. 


Lung-ch’tian Fabrikat. Sung Dynastie. D. 146 mm. 
Sammlung Raphael. 


2. Weihrauchvase aus grauweissem Porzellan, hellgrau griinliche Seladon- 
glasur. 


Lung-ch’iian Fabrikat. Sung Dynastie. H. 95 mm. 
. . Sammlung Raphael. 


al 


~ 


oat loisvuco eve otiol .s « 


'b ollinad cing lism orn 


x. Saucer of thick Stone-grey paste with incised design anc 
celadon. : : ane + 


bn Sh 


Sung dynasty. D. 5!. 


Sung dynasty. 2°75” x 3:25". 


1. Soucoupe. Pate épaisse gris-pierre. Motif gravé. En 


Song. D. 125 yum. 


« 2. Botte avec couvercle. Pate gris-pierre. Email gris éca 


Song. 70x 80 mm. 


nungen und blauer Seladonglasur. 


Sung Dynastic. D. 125 mm. 


= 


1 


22 " Mo aa and swe * cow a yn 


= icf - 
ith” ids 


ar 


pcs ats08 » shape » ve, aias30r8C ae 


a 


a 


a) me a aout BO myo? ei vaya ob supivt 


XX 


Dish with incised and applied designs under the glaze. 


Lung-ch’tian ware. Sung or Yiian dynasty. D. 14:5". ‘ 
Schiller Collection. 


Plat. Décoration gravée et appliquée sous |’émail. 


Fabrique de Long-ts’iuan. Song ou Yuan. D. 367 mm. 
Collechion Schiller. 


Schiissel mit eingeschnittenen und aufgelegten Zeichnungen unter der Glasur. 


Lung-ch’tian Fabrikat, Sung oder Yiian Dynastie. D. 367 mm. 
Sammlung Schiller, 


ew 
b ie \ . 
- * 

~ ! 

~ “ 
e 

= ask 
= . 
“Fey , 
- _ af } 


sronitiosice org to oltod 
ano. avoid ewortul 


¥ 


es 


ifs 


i 


; 


Bottle of grey porcellanous ware with green celadon glaze and splashes of 


lustrous brown. 


Lung-ch’iian ware. Sung dynasty. H. 10°75”. 
Eumorfopoulos Collection. 


Bouteille. Porcelaine grise. Email vert-céladon tacheté de brun lustré. 


Fabrique de Long-ts’iuan. Song. H. 273 mm. 
Collection Eumorfopoulos. 


Flasche aus grauer porzellanartiger Masse, grine Seladonglasur. Glanzende 


braune Tupfen. 


Lung-ch’iian Fabrikat. Sung Dynastie. H. 273 mm. 
Sammlung Eumorfopoulos. 


7 , 
Pre 


4 
shee 


ati 
4 
a 


Sa 


hg 


ae) 


aged haga ; 


1 


WB Sr Bue 
Tee 


4 7* 


4 > + ae ‘ , ie —, 
Pees Ze FS < rs . ay ' 
beeht . ; Pe ah es 
SAN! Ang ma ‘ * ee 4 4 ana, 4 
ee ar 4 MAR , 
7 P E i a i ha a 
Ma tha . ' eam wd 
a . } hy Ns \ «id ‘ i 
Me ns . ¥ ' Md \ ; , 
3 x ? fi, oe 7 
Pad . ‘ 4 ’ . 
aa : 
St ear i 2 Pi Vase of buff-grey bhewsrs with a Hk of whit sli 
aa Fe : A, te te a transparent green glaze. 


tA Pee ey ; Nite ; _Tz’i Chou type. ‘Sung dynasty. #H 12", 


: 4 \ ts ; ) } 2 i 
iA, 0 ¢ { m 7 : 
ri / i] 

Ww at 4 mn ( b hy es : : ‘ ’ ‘ sf 
¥s 4 Nae AT ae ND ; ‘ vine . 

BRS wo tia 12 ek Poriches Gris chamois-grisatre. Engobe peint en 

> a ae x ; . 

{ A eet ¥ parent vert. 7 


: wre | ; Reais ne, ie ate chet Cheou. | Song. H. 304 mm, 


ey a } } 
a f a Pall 
he Ay 
s ” ' 
‘ ' 
: gn i ee | Ki } * FAD Yh | 
° nA ” 
ike oe ‘ , j 
; ss N#y 
PyO a wD “ 
ry : ’ : 


a OR oat | Vase « aus braun grauem Steingut mit eee Suri 
tN »: bemalt unter bent | 2 griiner Gases. he S 


4% j 
* 
ya : ‘ 
‘ ‘ 
. f aN is 
i : 7 ¢ °. 
“eG j 
x a ‘ 
‘ ae 
oie ‘ ‘ 4 ; 
Rie ‘ ‘ \ 
7 , 
ut © 1 ‘ 
i % ; 
s 
7 . eae , | 4 % 
~ 
’ vile ) 4 
. Ra, } Fi ; ; f 
A As a j f 
is 
. % a if : } 
. . >; 
a . 
eae 
7 ¥ rN t 
. - 
: / 
BY tS c 
i t 
¥ ; ( ¢ f j , » 
5 / 
7 mth 
¥. J 
4s ‘ 
a ‘ \ 
4 ~ . 
, ay) / \ 
> " , ; 
& (i ral i ‘ 
. . ¢ ( 
x A 5 ; 
vs ». a ‘ ; } § ; 
a J AS ; ) 
é K ] 
4 
1 ‘ i - % { 
. > i » » Sy it 
) 
4 ‘ 
‘ % ) 7 
* a oe ; ‘ * We eh RS ae 
‘ PR 4 » * 3 k y Be 
" © - ’ r DAN a 
fe Ak i ») | pA 
ve) ® a Sa M 


Z. 


nee 
an yeas 


ua 


osu sini brs engiesh bevis9 duit ninkoowy Yo x28 


x 7 Neve yeeayb gnue .sqys ui sed 


fr 
Loneld liemd oeqlua noitetoosC saislsno oriole 
7 > . . a 7 x 
BS a oun ops 1 .ga02 wolf supndra 
poidsilod 


doit sogawadsioN motstindoeagas ice asllosi04 oO ug 


ates 


ia cps 4H iRenyG gave eaget ae : 


. * { - 
ay .® . 
e ae 
J wie 
* ¢ “, 
wv 
‘ 
—“: 
= 
5 re 5 

- < at 
vn 

» ‘ > 
o ft a ay 
3 - Big, oe 
I Ve ‘ 
: SA ae 

} et i a 

< be pa 

’ me S tis 
~* ey 
bs ail 
¥ A t “ 
? | 5 
F » as 
Le Fie ae : 
: < aya 
by ats ~, : 2 ; 


eS ¥ eae 
Hee lay ap Ne, Se j i } ; 
e eeee oa age Sede ae & Pe ye ee oe ee itt 


SR RAE? Rave eg ae ec 
es ». fi ee *: id be Whe aoe : A at 
< '® ie. ey % me : meee ri 
5” <T,) See F SS rie 
; Ad 4 iy 5 
Vase of porcelain with carved designs and bluish-white 
Ju type. Sung dynasty, H. 9°75)’ Beis 
Eun 
-  Potiche. Porcelaine. Décoration sculptée, Fail 
Fabrique Jou. Song. H. 247 mm. 
_ Vase aus Porzellan mit eingeschnitzten Zeichnangen, 
Ju Typus. ane Dynastie. H. 247 mm, 
Sh 
2 . 
ae 
f 


. 
. 
“* 
‘ te 
a, 


* . 
- 
t « 
wor 
é 
> 
-# 


oe mal fa ya eat 


rials eald linen very tiple stich “do 
form $81 1 .gae2 soak suing 


proenrs sel entitled jim eobar dl 
ain ¢81 . .gn0@ .wol supinde'l 


*- 


XXIV 


Bowl of translucent porcelain engraved and covered, with the exception of 
the rim, with light blue glaze. 


Ju type. Sung dynasty. D. 7:2!’ : 
Hetherington Collection. 


Bol. Porcelaine translucide gravée. Email bleu-clair excepté sur le rebord. 


Fabrique Jou. Song. D. 183 mm. 
Collection Hetherington. 


Schale aus durchsichtigem Porzellan, eingezeichnet und mit Ausnahme des 
Randes mit hellblauer Glasur tiberzogen. 


Fabrique Jou. Song. D. 183 mm. 
Sammlung Hetherington. 


- 


Anh J 


‘. 


. * ay 
_~ w 
. » s ; 
Se Bhs a : S 
a2 bas boblsom stsivi snl) ip yee Rare. ’ 
sant susie Sout to fescag* fldded - i : 
: = “ oo ne 
OE She Base, hue se ake ;: 
@ ; gee ¥ \ i . 
ae : . if ; = 
_ Baqluse 19 slobom cote .onieioriol Tae sy eae EN 
ad sb Staiet Make ot - 
sam pes LH .anoe  .nol oupt a oe 

Gi Beet 

sa ae 

soixtinndsesn ben raraillsborn vies ita sie aah wale 5 ‘ pay 
-gnadiet ausld siopriloe tint imeclD i a ng aatus se. f 
- Led f > ws 
mun pes HH .siteny gav2 wog¢] gt * : 
e 
nae 
i: 


XXV 


Vase of porcelain with moulded and carved decoration, and with white 
bubbly glaze of a faint blue tinge. 


Ju type. Sung dynasty. H. 10/, 
Oppenheim Collection. 


Vase. Porcelaine. Décoration modelée et sculptée. Email bullulé blanc, 
légérement teinté de bleu. 


Fabrique Jou. Song. H. 254 mm, 
Collection Oppenheim. 


Vase aus Porzellan mit modellierter und geschnitzter Verzierung, weisse 
unregelmassige Glasur mit schwach blauer Farbung. 


Ju Typus. Sung Dynastie. H. 254 mm. 
Sammlung Oppenheim. 


He 
% ci 


J 
- ‘ % 
a 
> 
a : 


"aie 
= 


oe 3S? a 


= 24s <a = Se 
Sve7g Jo lobom etiiom & sdone!d anishss a Sav Bea: | ; 
— hold 3b ae 3 
af Opi Fi xgnod sol Fe ide 

for Opr JH ,sritenyl y per 
3 
A 

¢ 


white bce of a oe ee tone. 


Ju type. Sung dynasty. H. 5°75/”. 


Vase. Porcelaine blanche 4 motifs modelés et gravés, E 


teinté de bleu. 


Fabrique Jou. Song. H. 146 mm. 


Vase aus weissem Porzellan mit modellierten und c 
nungen, weisse etwas bliulich getonte Glasur. 


Ju Typus. Sung Dynastie. H. 146 mm. 


7 NEI ae SIR tisen eb ki 


aa ee ge 


wn cee a , Oe 
: a 
. a 
« - 
ft wot ify bas Abani: Noy fo are Wry ¥ 
preran Es ewe 515 abieni ait a8 gnyizob . es . 
. bie ces ee v 
a id Ae ~ . 
2 cel ES % @ Sew. ao syn gaue 
Fa raat ; : al f 


J = 
ee 929 wairdrn' é sonal sug tina, Seeirls 210 3elt & lida? ox 


tin Jworsini'l £ tion-nund zlivorn 4 


mam 9rr .l .nsitA sb oupinded = .gnod 


& sitfausjzing sb tidiem tion liam ziomed> 2540 ddd & lol vc 
nize inoz elitom eof znsbob-uA .rweixdini'l & odtusld sbacd 6 zig 99 
a: ie cee a BS peiaroy ub puecoenity Mhereb ion 


Sie tin a A, cud ob ge ” 


er a r % 
Due ap ast omer Hine 
ha ~* « raw ex eee e ; 


eae a om ie g herp é See ; 


bilaub faces dogei tA agra aus tien at aif: BT i 
Re gph aia dostavslaermied 3 aire ae i. a 


se yon Pl Apia ‘gna? 


f 

(e is a 

Ce eee oe " et 
ery “¢ * | 8, a ee is ee 


oy 4 * 


iB whee G swsl “aeyaie Paes Pic wledseosT 


fild waei>- 1 for “UETR ion.” “SAMA uuaddoioN MoOUETg 
: is co aiistieenaid” vb ‘ue mognuadopN si 


: sth eh ee cae Taniloios 


ae cant > = Rat Mle 


ean saree Belo anid sieavyd gad 
“Se : 


biesci 


XXXVI 


1. Shallow tea-bow! of buff Stoneware with glaze of dark brown on the out- 
side, and of purplish-grey with designs in brown-black on the inside. 


Sung dynasty. Kian ware. D. 4:6". 
Schiller Collection. 


2. Tea-bowl of buff Stoneware with glaze of black mottled with yellowish- 
grey markings on the outside, and of grey with a bluish band on the inside. The 
designs on the inside are drawn in brown-black in the glaze. , 


Sung dynasty. Kian ware. D. 5”. 
Schiller Collection. 


1. Sébile 4 thé. Grés chamois. Email brun foncé A l’extérieur et gris-pourpre 
4 motifs brun-noir 4 l’intérieur. 


Song. Fabrique de Kian. D. 117 mm. 
Collection Schiller. 


>, Bol 4 thé. Grés chamois. Email noir marbré de gris-jaunatre 4 l’extérieur 
et gris A bande bleutée a Yintérieur. Au-dedans, les motifs sont dessinés en brun- 


noir dans |’épaisseur du vernis. 


Song. Fabrique de Kian. D. 127 mm. 
Collection Schiller. 


1. Flache Teeschale aus braunem Steingut, aussen dunkelbraune, innen pur- 
purgraue Glasur mit braunschwarzen Zeichnungen. 


Song. -Fabrique de Kian. D. 127 mm. 
Sammlung Schiller. 


2. Teeschale aus braunem Steingut, Glasur aussen schwarz mit gelblich 
grauen Zeichnungen versetzt, innen grau mit einer blaulichen Einfassung. 
Die Zeichnungen auf der Innenseite sind braun schwarz in die Glasur einge- 
zeichnet. 


- 


Sung Dynastie. Kian Fabrikat. D. 127 mm, 
. Sammlung Schiller. 


a 


a 


weoT 1 
isnyb gave 


Hil iw oesV os 


Hi eyfeoayb gnue 


, 2 a] “J . 
x , 


P= 


A live! A 


 “aavSil sb sxsrwot™ tion lim tion 2D 3dh & loll 1 
vam ost. .gno2 .a%tA sb ovpindsl 


sbisvuos xve 2e8V VS 


wnenoH ub supnds. 


— 


-gabhieo 


aa, We: agg x a 
Pe Te Ree x 
ry - 
ne + f 
a, th 
j ee as 
re vere 
f ; Abe x 
J i. 


1. Tea-bowl of black Stoneware with black glaze showing ss 
marking. yi ee 


Sung dynasty. Chien ware. D. 4°75". 


2. Vase with lid of grey Stoneware with black glaze and “ 
Sung dynasty. Honan ware. H. 6”, | 


1. Bol 4 thé. Grés noir. Email noir “ fourrure de ligvre.” 


Fabrique de Kien. Song. D. 120 mm. 


1. Teeschale aus schwarzem Steingut, die schwarze 
haarartiger Zeichnung versehen. 


Sung Dynastie. Chien Fabrikat. D. 120 mm. 


% 


2. Vase mit Deckel aus grauem Steingut, schwarze 
versetzt. by ; 


Sung Dynastie. Honan Fabrikat. H. 152 mm. 


~ 
— t 
7 
Tt 
aa 
~ 
*. © m 
oe ao F 
* 7 a 
gee 
~) r ~ 
A i , 
* Y s 4 
rf 
dl e Le oa “= 
+ > 
ai i 9 . zs 
rag C 
* a; 
4/7 # J 


i 
: 
} 
i 
# 


XIRE 


pond dtiv ninlsovoq stidw to quo boqatle-s9ldo0 a 


cordt ganusasox9 nigisoiog to daiCl .< 
7 =. oaisly ows doidw send orls 


tal 8 ¥ eee boo thom 30 nbireH wksayb gaiM 


7 eS a 
wee +4 
glow s9vn odonsld onisioo0T “aalodog ob semot ms see8T «1 ; 


: sw ely sl evoe sgu01 19 


+) 


mm ey HH .gaiM 


4 sl 39 biodan ol Wcincnguaenagle” paictioiens a3 telZ .s ; 
eoreld 


e 


dam ris G .yaiM 


Gag 


a | Af. ue, 
¥ 6S . . aie ‘ : Ars 
a ~ t 
Pan be f 2 
a + saa” " , 
Fa Ns ve - 
A Se ie J FS , ee 
4 are t ul 
= - ' 
et ¥ 
De * 
‘ ta 
te 
- are 


glaze. 


Ming dynasty, Hstian Té mark in blue 426-35), H: 3 A 


2. Dish of porcelain covered ae red ae excepting the aim 
the base, which are white. 


1. Tasse en forme de gobelet. Porcelaine blanche avec trois 
en rouge sous la glacure. 


Ming. H. 79 mm. 


2. Plat en porcelaine. Glacure rouge, excepté le rebord et 
blancs. ¢ 


Ming. D. 211 mm. 


1. Becherformige Tasse aus weissem Porzellan mit d 
der Glasur. a 


Ming Dynastie. H. 79 mm. 


. A F s a eee 
2. Porzellanschiissel mit roter Glasur tiberzogen mit Av 
und des Hohlraumes unter dem Fusse, die weiss sind. 


Ming Dynastie. D. 211 mm. 


os, 
ree Se 
is nn Beas 
: * 


° 
~ 
> 


/ 


» 


- ee <2 ej 
ats, kt Attoup calige shahsese nisbeyieey, Fo gry e 
; trasby, eS 2 ta” raariure Sine ata: te Y 


s, 


a Near at 


ae 
“ey 


XXX 


d in threads of clay and coloured with 


® Vase of porcelain with designs outline 
deep green ground. 


yellow, white, and aubergine glazes in a 


Ming dynasty, fifteenth century. 5 Ro Ar 
Anthony de Rothschild Collection. 


Vase. Porcelaine. Motifs a contours filetés d’argile. Glagure jaune, blanche - 


et aubergine sur fond vert foncé. 


Ming, 15° s. H. 304 mm. 
Collection Antoine de Rothschild. 


Porzellanvase mit Zeichnungen in Tonfiden, die gelb gefarbt sind, weisse 


und Aubergine Glasuren auf tief griinem Grunde. 


Ming Dynastie, 15. Jahrhundert. H. 304 mm. 
Sammlung Anthony de Rothschild. 


= _— 
A 
. 
i 
Ca 
4 P 
j 
\ 4 
<3 O5 
5 
~ 
1m 
+ 
os 
=e! 
' « 


j lo casV 
lod evoley 


; sol 
vitgliosyw 


POC 


VesayCl gad 


Gi Sek 
'fiowesld aogidie) 


Che i OS 


ion * 


ey 


chs 


> gs 


ete 
4 


Pes 
ay G4 


XXXI 


Vase of porcelain with designs outlined in threads of clay and washed in with 
various coloured glazes. 


Ming dynasty, fifteenth century. H. ir'9", 
Oppenheim Collection. 


Vase. Porcelaine. Motifs contours filetés d’argile. Glagure par immersion 
de diverses couleurs. 


Ming, 15° s. H. 292 mm. 
Collection Oppenheim. 


a 


Porzellanvase mit Zeichnungen in Tonfaden, iiberzogen mit verschiedenen 
farbigen Glasuren. 


Ming Dynastie, 15. Jahrhundert. H. 292 mm. 
Sammlung Oppenheim. 


i ahs visi ‘hie nislostog 16. 926V 
" a 3 i : on bowoloo 


“anon Sailnet. 
; -ts31N09 ene abr sperm 


vi fgg : 


XXXII 


Vase of porcelain with designs outlined in threads of clay washed in with 
coloured glazes. 


Ming dynasty, about 1500. H. 14°5". 
Evan Charteris Colleétion. 


Potiche. Porcelaine. Motifs 4 contours filetés d’argile. Glacure par 
immersion, de diverses couleurs. 


Ming, vers 1500. H. 368 mm. 
Collection Evan Charteris. 


Porzellanvase mit Zeichnungen in Tonfaden, iiberzogen mit farbigen 
Glasuren. 


Ming Dynagtie, um 1500. H. 368 mm. 
Sammlung Evan Charteris. 


XXXII 


Winejar of porcelain with designs outlined in threads of clay washed in with 
coloured glazes in a turquoise ground. 


Ming dynasty, fifteenth century. H. 13”. 
Benson Collection. 


\ 


Amphore. Porcelaine. Motifs 4 contours filetés d’argile. Glagure par 
immersion, de diverses couleurs sur un fond bleu-turquoise. 


Ming, 15° s. H. 333 mm. 
Collection Benson. 


Weinkrug aus Porzellan mit Zeichnungen in Tonfaden, tiberzogen mit 
farbigen Glasuren auf tiirkisblauem Grunde. 


Ming Dynastie, 15. Jahrhundert. H. 333 mm. 


Sammlung Benson. 


A 
in ee 
es ae . 

a» 

5 

ia, 

1 

¥ 
= 
= 
Ae 
' 
- 
q 
a 
_. 
i 
; 
J » 
' 
va 


‘fe eae” 


wait oe 5 faacae i mo pity ee ae joRuled io szeV 
y bre ae ti bodtltye enigizobebas ould oxcly 
. ae cores Be bobioa & mi zivoloo 


a 


2 or Rta io Rie sere guilt 


ro ei spice eas em Puisfialse ob amish ag sen 
debit: wield wom {iol —orteple sl enoe 
| Anduson-aeioupnee bao we tisai'b ewolyoo 


ee ae 


; ~~ 
Shan, 6 


raed tien Sen RDN Si opimitolasaooC 
Mate ‘wigoXtod ti -averd gor moguvndoioN sweslgroin U 
he Neale a ae ee ay roveldeiahin cnotiod 


Difige 


ste P 


XXXIV : 


Vase of baluster form with neck cut down. Porcelain with borders of under- 
glaze blue and designs outlined in reddish-brown and washed in with enamel 
colours in a mottled turquoise ground. 


Ming dynasty, fifteenth century. H. 16/ 
Lindley Scott Collection. 


Vase en forme de balustre. Col cassé. Porcelaine 4 décoration bleue peinte 
sous la glacure. Motifs & contours brun-rougedtre. Glagure par immersion a 
couleurs d’émail sur fond turquoise-marbré. 


Ming, 15° s. H. 406 mm. ; 
Collection Lindley Scott. 


Dockenformige Porzellanvase mit abgeschliffenem Halse. Rander in blauer 
Unterglasur, Zeichnungen rot braun, iiberzogen mit Emaillefarben auf gespren- 
keltem tiirkisblauem Grunde. 


Ming Dynastie, 15. Jahrhundert. H. 406 mm. 
Sammlung Lindley Scott. 


ba bavta ae ‘his. Hi e04 v soe 
> oe easel boavoloy stew ot bailessv 


or 


dae Esa “gr rod pes seit 


- 


ca i Mj. ae 


rt neigiis 5 tien (stan cael t 
: oe mevoedi) i ita ssi 


e 
3 


XXXV 


Seat of porcelain with designs incised and bordered with threads of clay and 
washed in with coloured glazes. 


Ming dynasty, about 1500. H. 13’. 
Benson Collection. 


\ 


Si¢ge. Porcelaine. Motifs gravés 4 contours filetés d’argile. Glagure par 
immersion, de diverses couleurs. 


Ming, vers 1500. H. 333 mm. 
Collection Benson. 


Porzellanschemel mit eingeritzten Zeichnungen, abgesetzt mit Tonfaden und 
tiberzogen mit farbigen Glasuren. 


Ming Dynastie, um 1500. H. 333 mm. 
Sammlung Benson. 


vv 
‘ 


| 


hc _ ~*~ . Ve ne, wary *, je P = ie < 


“por ogi tnodes ,yfeenyb gail 
& 


>» 


A ok (tion 


scale vei olor sb stysuriss2 


x a a ee, ae amuslyos 


ooet 219v ,gniM 


Shas a 


i Rec gni 


Figure of Shou Lao, God of Longevity, in porcelain withs 
Ming dynasty, about 1500. H. 10-4’. ee 


A 


Statuette de Chou-lou, dieu de Longévité. P 


couleurs. 


Ming, vers 1500. H. 264 mm, 


Porzellanstatue des Gottes der Langlebigkeit Shou Lao, F 


‘Ming Dynastic, um 1500. H. 264 mm. 
; Sammlung 


i 


ao 


% Aro a ee any, fe. ‘aie eee lo 226V 
. hee ete: teat ae -_ boasolos 


Seiten acotioT 
aes, asetovih 9b Moieimemi 


ate tae a ‘onehsetingyil 


Vase of porcelain with designs outlined in threads of clay and ; 
coloured glazes. se 


Ming dynasty, about 1500. H. 18°75)’. 


Potiche. Porcelaine. Motifs 4 .contours 
immersion, de diverses couleurs. . 


Ming, vers 1500. H. 476 mm. 


F 


s ee eee ead ae : 
aigiesb bovergns to Bled-bne *xely baitialos diiw aicloxoq to xeV 
: + Se LH Yenyb goiM yl 


te 


_* 


a etysfiI0n Repvib sh gue) Hie IO, .orl2i1301 


* e £ A “1 : h 3 iit A t 
oo eee Oe FT garih eoisaud sc 


es . vw 


* 


wh 
tee ee 
~ “he - sy i 


nioagan grat Pa 


gate 


’ 


Otani bay as wesid sgidant eepenelssso4 
bi ‘ ae Lanes Bel 


+ a ‘ 
a + 


sittin Pep at Si eat galt sii 


XXXVII 


Vase of porcelain with coloured glazes and belts of engraved designs. 


Early Ming dynasty. H. 22”, 
Raphael Collection. 


Potiche. Porcelaine. Glacure de diverses couleurs ct bandes de motifs gravés. 


Début des Ming. H. 558 mm. 
Collection Raphael. 


Porzellanvase, farbige Glasuren und giirtelformig angeordnete Zeichnungen. 


Friihe Ming Dynastie. H. 558 mm. 
Sammlung Raphael. 


yi 
% 
P ‘ 
6 
4 
: 
. 
\ 
« 
\ 
\ 
A» 
a » 7 [an . im 


»A 


Ai bollsbom egies cdiw — feibbor bisd Yo -fwod-det*t 
: pty: peqolo, aldivwe ai _badlaew 


XXXIX 


Fish-bowl: of hard reddish pottery with designs modelled in low relief and 
washed in with coloured glazes. 


Ming dynasty, sixteenth century. D. 26°5”. 
Benson Collection. 


Bocal 4 poissons. Pate dure rougeatre. Motifs modelés en bas-reliefs. 
Glacure de diverses couleurs par immersion. : 


Ming, 16° s.  D. 673 mm. 
Collection Benson. 


Fischschale aus fester roter Steingutmasse mit niedrigen Reliefzeichnungen 
und farbigen Glasuren. . 


Ming Dynattie, 16. Jahrhundert. D. 673 mm. 
Sammlung Benson. 


Flower-pot with incised designs and coloured glazes. ie 
Ming dynasty, Cheng Té period. H. 6°25”. A 


Cs 


, 


Pot A fleurs. Motifs incisés et glagure de diverses « 


Ming, période Tchéng-té. H. 159 mm. 


Blumentopf mit eingeritzten Zeichnungen und fe 
Ming Dynastie, Cheng Té Periode. H. 159 mm. 


glo 
gai 
sen 

idvel bow 


werd ane 
asic) of 


Vase of buff-white porcellanous Stoneware with designs modelled in relief and 
washed over with coloured glazes. 


Ming dynasty, sixteenth century. H. 14”, 
Benson Collection. 


Potiche. Grés porcelaineux blanc-chamoisé. Motifs modelés en relief. 
Glacure de diverses couleurs étendue avec une brosse. 


Ming, 16° s, H. 356 mm. 
Collection Benson. 


Vase aus braun weissem porzellanartigem Steingut mit Reliefzeichnungen 
und farbigen Glasuren. 


Ming Dynastie, 16. Jahrhundert. H. 356 mm. 
Sammlung Benson. 


i 
E 
cd 
é 
¥ 
; 


i) 


pees boiwolos diiw 


i 


wey Astel) yleenyb goiM, 


vs 


eiomsd aan, oy: dood 
‘ eau aliio> osm oh forisaiunt 


ser a} Skt aeb aid 


auyoine crn eesranle is see 
* aigbsl geek AsilsA 


XLII 


Vase of buff porcellanous Stoneware with designs in low relief washed in 
with coloured glazes. 


Ming dynasty (late). H. 18’. . 
British Museum. 


Potiche. Grés porcelaineux. Chamois. Motifs en bas-relief. Glagure par 
immersion, de diverses couleurs. 


wo 


Fin des Ming. H. 457 mm. 
British Museum. 


Vase aus braunem porzellanartigem Steingut, Zeichnungen in niedrigem 
Relief, farbige Glasuren. 


Spate Ming Dynastie. H. 457 mm. 
Britisches Museum. 


haa SRC at 
hed Spock AUR Rae nas 


ni | Keaidwel eb ita $i sai eg biigidls> 10q aiislw-fud to senV 
| ; fics ale djiw ai bodesw bac ysio 


eg bh i aa: Ajnosxie Wesayb gaul 


ie id: diyoritebdoaeg ei enV 
vilisluod 2 wri ab = ne req swell 


a 


ee LO ae 2 0s goa 


Pie 9 am se Pas" 2 aus oen¥ 


oF 


ne ae ‘e seppolo agidiel aobeh 


! u a Oi silésny gaild 


Vase of buff-white porcellanous Stoneware with bai out] 
clay and washed in with coloured glazes. en 


Ming dynasty, sixteenth century. H. 185. 


Vase. Grés porcelaineux blane-chamois. Motifs a co 
Glacure par immersion, ee diverses couleurs. . 


Ming, 16° s. H. 470 mm. 


faden, farbige Glasuren. 


Ming Dynastic, 16. Jahrhundert. H. 470 mm. 


() 


y sctiti, isl oy: ret oe met 


ee nea 7 
bag. “ime 


XLIV 


Wine-jar of porcelain decorated in under-glaze blue and with the background 
of the design washed over with red enamel. 


Ming dynasty, early sixteenth century. H. 23" 
Victoria and Albert Museum 


Amphore. Porcelaine. Décoration bleue sous la glacure. Fond de dessin 
d’émail rouge posé par immersion. 


Ming, début du 16¢ s. H. 330 mm. 
Victoria and Albert Museum. 


Weinkrug aus Porzellan, verziert in blauer Unterglasur, wahrend Hinter- 
grund der Zeichnung mit roter Emaillefarbe tiberzogen 18t. 


Ming Dynastic, friihes 16. Jahrhundert. H. 330 mm. 
Victoria und Albert Museum. 


Nou it hiasty to deib-rsoun2 .s 
sould. ai oup ee sgduob 6 oved angizob 


ie asely ols 19v0 
; oe: w 


88 eo Kuusas. dingosxie wal 


sold io es aes: >. at is 
Bu Legals tl} bs em ny aime Roce ai 
ce 


XLV 


1. Wine-cup of fine porcelain painted in enamel colours. 
Ming dynasty, with mark of Chia Ching period (1522-66). D. 3”. 
Eumorfopoulos Collection. 


2. Saucer-dish of porcelain with mottled under glaze blue ground. The 
designs have a double outline, one in blue under the glaze, and the other in red 


over the glaze. 


Late sixteenth century. D. 5/. 
Oppenheim Collection. 


1. Coupe 4 vin. Porcelaine fine peinte en couleurs d’émail. 


Ming, marque de la période Kia-tsing (1522-1566). D. 76 mm. 
Collection Eumorfopoulos. 


2. Plat creux. Porcelaine 4 fond bleu-marbré posé sous la glagure. Motifs 
4 double contour, l’un en bleu sous la glagure, l'autre en rouge par-dessus. 


Fin du 16° s.  D. 127 mm. 
Collection Oppenheim. 


1. Weintasse aus feinem Porzellan mit Emaillefarben bemalt. 


Ming Dynastic, mit Zeichen der Chia Ching Periode (1522-66). D. 76 mm. 
Sammlung Eumorfopoulos. 


2. Untertasse aus Porzellan mit gesprenkelter blauer Unterglasur. Die 
Zeichnungen haben doppelten Umriss, blau unter und rot tiber der Glasur. 


Spates 16. Jahrhundert. D. 127 mm. 
Sammlung Oppenheim. 


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1. Bowl decorated with Mohammedan blue and green enamel, w 
in leaf gold. 


Ming dynasty, Chia Ching period. D. 4:75/’. 


ik 


2. Bowl with enamelled ornament. Sixteenth century Augsburg | 


Ming dynasty, Chia Ching period. D. 4!’ ep 


. m 
1. Bol décoré d’émail bleu-turquin et vert 4 cartouches d’or appl 


Ming, période Kia-tsing. D. 120 mm. eee: 
: British Mu 
Raster 6 Rose 
2. Bol a décoration d’émail. Monture Augsbourg du 16° sh Ms 
Ming, période Kia-tsing. D. 101 mm. ie 
, 5 = Saal ; 
1. Schale dekoriert mit mohammedanischen blau und griinen. 
Arabesken in Blattgold. eon a 


Ming Dynastie, Chia Ching Periode. D. 120 mm. 


2. Schale mit emaillefarben en Ornamenten auf Augsburger 


ey 
16. Jahrhunderts. “e 


Ming Dynastie, Chia Ching Periode. D. ror mm. 


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Pomistesgg0 =e 


Ao a a09 ogislorio SrdbrgiA | Oe 

ae ite dsiin ag 2dlobor + Son 

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Ewer with flattened body of porcelain, with enamelled 
lightly moulded in relief. 


Ming dynasty, Chia Ching period (1 ). HL ea: eta 
° 2 522-66 Pe 


Aiguiére. Porcelaine. as apt Motifs emails 
modelés en relief. 


Ming, période Kia-tsing (1522-66). +H. 234 mm. . 


7 
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Beaker decorated in under-glaze blue and enama col 
Ming dynasty, Wan Li mark. ) 5 Ii wha 


. 


Gobelet. Décoration bleue et couleurs d’émail 
Ming, marque Wan-li. H. 571 mm. 


Becher, in blauer Unterglasur emaillefarben dek« 
Ming Dynastie, Wan Li Zeichen. H. 571 mm. 
a ae 


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Beaker, one of a pair, enamelled on the biscuit. 
K’ang Hsi period. H. 8° fy 


Gobelet dépareillé. Emaillage sur le biscuit. 
Période K’ang-hi. H. 216 mm. 


Becher, einer von einem Paar, enameilliert auf Biscuit. — 


es 


K’ang Hsi Periode. H. 216 mm. 


Vase dépareillé. Famille verte. Décoration d 
Période K’ang-hi. H. 736 mm. ea 
Vase, eine aus einem Paar, dekoriert mit “ far 
der Glasur. e i 
K’ang Hsi Periode. H. 736 mm. 
_— . * is 


> 


cea do 


Dish of porcelain with etched designs under blue glaze. 

Ming dynasty, with incised work of Chia Ching period ( 522: 

Ming Dynastie mit eingexitztem Zeichen der Chia Ching 
D. 381 mm. eee ay 


Hd ; 


‘Wine-jar of porcelain with painted designs. te 
Ming dynasty, Chia Ching period (1522-66). H. 11" 


Amphore. Porcelaine. Décoration peinte. — 
Ming, période Kia-tsing (1522-66). H. 298 oon 


Weinkrug aus Porzellan mit gemalten Zeichungen. 
Ming Dynastic, Chia Ching Periode (1522-66). H.. 


2aaa ad & oo.stidw! a: eagiest: Wty so%e> beg oenV 
es se? bee ees 1 ee Ie * Oe 


A borg Hit gas’ Ay, 
- ol be 4 ” ‘ ; . = 


oe 


ih LaoFgue srfnsid seitiegG Cats ay 


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Sit fol Pt 


| en : 5 ‘ 
S << 4 ad ps _ 
* cs Chee aed m 


ae 
: 


‘asifyn: aoucid Treenstannd 29S ge gis oo 1a eee! 


ot, 


40 etn ee 


* 


K’ang Hsi period. H. 10!’, 


Vase et couvercle. Décoration blanche. sur fond bl 
Période K’ang-hi. H. 254 mm. 


Deckelvase mit weissen Zeichnungen auf blauer rauher 
-K’ang Hsi Periode. H. 254 mm. 


. 
4 


Pad 


be A = eT: Se aki Lat a 
ae pt Aaa | eae ; Peay : i 
os ee 1% ears % pat x 
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LIV 

3 . 


i. Vase with minutely crackled turquoise glaze. 
K’ang Hsi period. H. 475”. 


H. ethering 


ton Ci 
2, Bowl with engraved designs under brilliant turquoise blue 


K’ang Hsi mark. D. 4°5”. 


“1. Potiche. Glacure turquoise 4 minuscules craquelures. 
Périrode K’ang-hi. H. 114 mm, 


Marque K’ang-hi. D. 114 mm. 


1. Vase mit tiirkisblauer feingerissener Glasur. 


K’ang Hsi Periode. H. 114 mm. 


2. Schale mit geStochenen Zeichnungen 
, Glasur. 


K’ang Hsi Zeichen. D. 114 mm. 


at 
* S 


AN 


-* 


1. Wine-cup of porcelain with yellow glaze outside and white inside. 


Ming dynasty, sixteenth century. H. 1-4!’ - 
‘ Walter Levy Collen ae = 


2. Bowl of porcelain painted in enamel colours on the biscuit. 


Ming dynasty, with mark of the Chia Ching period (1522-66). D. asl. 4 
Eumorfopoulos Collection 


; ) ae a 
1. Coupe a vin. Porcelaine 4 couverte jaune A I’extérieur et blanche a 
_ Vintérieur. . 


¢ 


Ming, 16° s. H. 36 mm. se “ 
Collection Walte 
2. Bol. Porcelaine peinte en couleurs d’émail sur le biscuit. ’ 


Ming, marque de la période Kia-tsing (1522-66). D. 197 mm. . ' * ‘ . 
’ Collection Eumorfop 


~ 


Ming Dynastie, 16. Jahrhundert. H. 36 mm. 


2. Porzellanschale mit Emaillefarben auf Biscuit bemalt. 


sere, To Hag lit Se 


N\A 


tiuzeid arty fh Pirtoeles bstarrte ai batticos) (wodl ; 


ear ite eX | lagi: woidd Bui Yeeneb anil 


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(as Cor = sgnieea A: sO pW unas, 
i “ye - o8 = ec « Pus F 4 
: Me 5 ag > si 
aye” 2 i ‘ ip Se i 23: : : ri Y : ; at 
“SII SISe tee Fre teochslollic gel “ai gt Riide, 


LE eee sake Bas? ge ARE 
ees | Ad Si elisk navit > puto 


OFC yuild 
™ ; S nnn i Es eee 5 


Bow! decorated in enamel colours on the biscuit. 
Ming dynasty, Chia Ching mark. D.7°5'. | 


7 
2 


Schale, in Emaillefarben auf Biscuit verziert, 
Ming Dynasti, Chia Ching Zeichen. D. 190 mm. 


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ashes 


Pot A fleurs. Grés chamois. Décoration en relief. 
couleurs. 


Ming, 16° s. H. 393 mm. 


we 7 
mit. 
re 


Blumentopf ati braunem Steingut, Reliefzeichnungen 
uberzogen. or 


Ming Dynastie, 16. Jahrhundert. H. 393 mm. 


ad 


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2. Incense-burner of moulded porcelain with coloured glazes. ait i 
box above are part of a set of furniture for the writing-table. 


H. (without handles) 3!’. 


1. Boite aA encens et couvercle. Porcelaine modelée. 
couleurs. 


HL 64 mm. 


- 2. Briile-encens. Porcelaine modelée. Glacure de diverses: 
objet et la boite pe font partie d'une garniture de table aé écrire. “5 


H. (sans anses) 75 mm. 


1. Weihrauchschachtel, modellierter Deckel aus Porzellan, farbi ( 


\ 


L. 64 mm. : 


genstinde eines Schreibtisches. 


H. (ohne Henkel) 75 mm. 


‘ 
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K’ang Hsi period. H. 4°5/’. 


Potiche 4 couverte “‘ Lang-yao ” allant du rouge cerise au sang 
‘ hak oe 
Période K’ang-hi. H. 114 mm. eer: 


Vase mit “lang-yao” Glasur. Farbe 
hend. 


K’ang Hsi Periode. H. 114 mm. 


‘a Ses? F Bersong. slqqn” dtiw seeV . 
osha Hp ay dainty: 997g bistsens peahayuhen: 


bee See Tite. Mnosidgrs vhs 


$ bns ‘iin a iw ost cei foney dtiw died deur os 


a 


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i ital ip JaPanqener Ricans 


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vb aa ab seq Figule aanus>0%4 £ ef is 


ty ater Ad Agee sd ao sl ob sup 
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‘gusrdU aebnasnitty id>isl isatiry bgereme 


soe opr .H  .nsbauridek 83 eanlia't 


LX 


1. Vase with “ apple-green ” glaze, a stone-grey crackle with 2 a coating ¢ 


transparent emerald green, which is faintly lustrous. 
* 


Early eighteenth century. H. 5°5/’. 
2. Brush bath with peach-bloom glaze, with ee and brown spo 


K’ang Hsi period mark. D. 4-6’. . 
Hadden C 


1. Potiche. Glagure vert pomme, craquelure gris-pierre. 
émeraude transparent peu lustré. 
~ -Début du 18° s.  H. 140 mm. 

2. Bac 4 pinceaux. Glagure peau de péche 4 taches vertes et brun 


Marque de la période K’ang-hi. D. 117 mm. 


1. Vase mit apfelgriiner Glasur, Steingraue Risse mit einem 
smaragdgriinen, leicht glinzenden Uberzug. 
Friihes 18. Jahrhundert. H. 140 mm. 2 


2. Pinselnapf, pfirsichfarbene Glasur, griin und blau gefleckt. * 
Zeichen der K’ang Hsi Periode. D. 117 mm. | 


RNG a tea 


p* 
° > 
¥ ; ee 
aen V - 
Z a 


> “tH .boineg iH yas’ | Fo 


83 31 


* jon spclD  .edoitoT 
Ae ees 


: md eer yas’ A sboid 
he en te < 3 


ee 


‘egies 


Vase with mirror black glaze, with 


K’ang Hsi period. H. 7”. 


\ 
Potiche. Glacure noire miroitante a | 


Période K’ang-hi. H. 178 mm. 


Stic iit 


| | erwolos fommens ni ae me yeesly otidw bsob ai ozeV 11 
y teted-biiY uA io. 


“eg A heen paul noi'dO 


loman> boxica ni bosming ylstisilsh 980) yrovi Io nislooroq ani to twos 
© asiied-loY uA to okyft ont ni 


: Suiclsoe doitoT or 
orit-ooY yo ub aly? ol 


mm @8 .H .gnod avid oupisM 


p uaa ‘b em, cg aameteiss stiovi abies ont] lod os 
—— oad cet wot ob ofyf 


’ ” , i ' 
—— 4 ! * 


of Ku Yutieh-hsiian. 


Ch’ien Lung mark. H. 3:5”. 


in the Style ys Ku Viehdaver 
Ch’ien Lung mark. D. 53”. 


1. Potiche. Porcelaine vitreuse blanc mat. Peintures couleurs d’é 
le Style du Kou Yue-hiuen. 


Marque Kien Long. H. 89 mm. 


2. Bol. Fine porcelaine ivoire delicatement peinte d’emaux. r 
Style de Kou Yue-hsuen. ; 


Marque K’ien-long nien-tche. D. 139 mm. 


1. Vase aus Stumpfem, weissem glasartigem Porzellan in 
bemalt, im Stile des Ku Yueh-hstian. ; 


Ch’ien Lung Zeichen. H. 89 mm. 


2. Schale aus feinem elfeuinetlapbenen Porzellan aut 
malerei dekoriert im Stile des Ku Yiieh-hstian. = 


Ch’ien Lung Zeichen. D. 139 mm. 


y 


¥ 


ein ie sella saorl! Lisrat i 


% 
2, 


‘yg 


eiah 8 cs Gs Aeshna ait 


. 


easel se oh aiboang ah fies F ongaios 


i ee 


sih-boh. aeoibims 7 raha aur fie 


Detail from Paradise of Bhaishajya-Guru. 
Ninth century. H. (of detail) 15!’ 


Peinture. Détail du paradis de Bhaishajyaguru. 
o¢ s. HL. (du détail) 381 mm. 


Detail aus dem Paradiese des Bhaishajya-guru. 
g. Jahrhundert. H. (des Details) 381 mm. 


aniclage kebeaygen 


. 
D 
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= > . ‘ a a 
< 


Avalokitosvara. 
Ninth century. 4! 8” x1! 10”. 


* 


; Peinture. Avalokite¢vara. 
ges. 142x 56 cm. 


Avalokitosvara. 


g. Jahrhundert. 142 x 56 cm. 


eendeudooU 


yuuiass din 


~ a 4 b 


gout ot cmdéedU  swinied 


™ .stadeudsoU 


shnobaudids| .o 


a 


8 86 X OR 


mal 


pS i Pe S . 
oy! 7 
= be ‘ 
- a 
. 


Ucchushma. 
Ninth century. 2! 7” x1. 


= 


Peinture. Ucchushma, le Tueur de | 
g° s. 79 X30 cm. ’ 


Ucchushma. 
g. Jahrhundert. 79 x 30 cm. 


Si = 
“Bors wert SI. 


nian a thea ae we #9 2c Ea 


oe 


5 
ta! 


Sa Ab : 


a 
are 


@ 


The Ch’ang Lo Palace, after Li Ssti-hsiin. ~ 


12°45" x20", 


310 x 254 mm. 


Der Ch’ang Lo Palast nach Li Ssii-hsiin. 


310 x 254 mm. 


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Lady Feng and the Bear. Alter s Sung detign. 


r BAY yal ai, 


Peinture. La Dame Feng et YOurs. D’aprés un 
52 x 89 cm. 
* - . ;: . eb PS F 
Lady Feng und der Bar, nach einer Sung Zeichnung. 
52 x 89 cm. 
> 
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aan 
, yes i ae 
* , ‘ wee ¥s : : —P 
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al ‘a Leo 
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Bird on bough. a 


Attributed to Wang Jo-shiin. 1/ 74" x1! 14". 


. 


Peinture. Oiseau sur une branche. 


Attribué a Wang Jo-chouei. 50 x 34 cm. 


Vogel auf dem Zweige. 
Wang Jo-shiin zugeschrieben. 50 x 34 cm. 


HOWG.*} 


E Bans 9 


ri 
f 


a ie 


S 


. 19 


Bronze cauldron or boiler with decorations in relief. 


H: 207257. 


Chaudron ou bouilloire en fonte A décoration en 


H. 260 mm. 


Bronzekessel mit Reliefverzierungen. 
H. 260 mm, 


ie ‘ae Ye ) ot ai ipo bar wos-rsnord 
| a, a. a  xbingb a post 4 


a 


aN 


LS 
& sigh 


) ees a on 


Be gk 


‘Preis eeu vessel in the form of an owl. 


?Chou dynasty. H. Bagh oS 


Récipient en forme de hibou, recouvert de bronze. 
Tcheou.(?). H. 210 mm. 


Eulenférmiger, mit Bronze tiberzogener Behilter. 
Chou Dynastic (?) H. 210 mm. 


7 ‘ 
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6 
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yates 
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band ie = Wie CASS ty imumereh a ot 4 a 
PAE Stove I8b) Ani lsiiitane ir, ay Bayo 2-osnoil 


a" 


5% td VEeLRYD gor Me: 


Las eh oadead Sh eye eos i, eV." 


ee ep RR OE epee RTS ( 
od e B.. s = ya 4 


‘ 


wigid Tyroyotwidir sypeatl SMA). 


~~. pal 

rok . - ¥ 

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rs 1 

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Bronze-covered pail for sacrificial wine; decorations in re i 
Chou dynasty. H. 13”. 


Vase a libations recouvert de bronze. Décoration en 1 ) 
Tcheou. H. 330 mm. 


tithe 


Mit Bronze tberzogener Eimer fiir den Opferwein, Verz 
Chou Dynastie. H. 330 mm. Le 


~ : t * % 


ye 


re a 8 
foolQ ~ 


.% 
= 


{ee x aes 
& Seat he 
=e te ee 6 
; ; ; 


tnittid anne sxaund.ob 


Bronze clapperless bell. 
e 
Chou or Han dynasty. H. 12°25”. 


Cloche debronze tans battane eee 


Tcheou ou Han. H. 311 mm. 


Bronzeklingel ohne Klépfel. 
Chou oder Han Dynattie. H. 311 mm. 


i Ot eto. bal 6 16 won9 vere . 


+ tes he ees 
*¥ - c O AF: 3 > 4 
> act , a FS . ~ 
, ’ ee Le oe 
fy. = 4 3 os as = = ie . 
cab aici aby mir canta aus ‘L osaord i Sesto’: eas © | 
a” Poa ae 


ra fern oe a ape e eh ang lito aoe Ag 


ar - < 4 


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“Ge 


‘*. . fr ae, 
. +¥ AS ote 
Fes hers 3 
Cae 
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F a ie” a 


Bronze cover of a lady’s toilet-box decorated with paintec 
T’ang period. See aa 


D. 6:5". 


Couvercle en bronze dun nce de toilette 
Motifs peints des T’ang. D. 165 mm. 


. 


Bronzedeckel der Toilettenschachtel ‘einer Dame, 
Mustern der T’ang Periode. 


D. 165 mm. 


‘ 
* * 
> ~~ 
=a < 
ao 
3 : 
, - 
Gace ' 
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2 
’ $ 2 t - 
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as a 


Daal wol ai csiyesh: Ati Bad wi b> A 


za 
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Sa 


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Sug a . 5 ate ‘ ir re = . ; ay a A ‘ . anit eae . ot 
S ; * = La ¥ ue tall £ : * “ a < ts i ‘ae i : ys r ; ; 
Ta P a » & ay tae : 4 ; 3 3 4 : ee yy va E 
. = ms te ; 2: ie ’ : 


oe ; : j ae : rs ee 
Ps . = : ioe : ae, an up 


= i Bear ce Le Stine ; ei Wee 
,. - they Sst = a 7 > , ” kg = er . et Ante Z : y. a - 
a ee Hathrend af Sroahh IOS THOR CY sh wl a jety pate 


Bin 99g" 


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Bronze mirror-back with designs in low relief. 
T'ang dynasty. D. 8°75". 


Dos de miroir en bronze décoré de t 
T’ang. D, 222 mm. 


Bronzeriicken eines Spiegels, mit Zeichnungen in 
T’ang Dynastie. D. 222 mm. | 


bs] tozowkeasy miepiiw0 5 jo swt] 


aa e2 ts afi. Yesayb ons'T 


vo ebrulenen SRE Geeinw0D _siisui632 


“fom o8: .H gaa T 


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bet wyittlotd awh a coanemioH zonis urgi*] 


f Wun, 08s ra sitsayG nas i - 


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Maoh 


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y Ny ee) cs peek .- ok ye. 
Sr egg 
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Figure of a courtier in translucent jade. 


> T’ang dynasty. H. 11z¢". 


ne \ 
“ Statuette. Courtisan. Jade translucide. 
os T’ang. H. 280 mm. 
3 | 
Figur eines Hofmannes in durchsichtiger Jade. 
T’ang Dynastie. H. 280 mm. 
% 


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tio “ft toeeay sels Pa ws « 
Ame H ‘hse vod Dnt, . 
ee a St supa a da Yo se m4 | | Ps 
ae De J au : a5 , Bro at 


re di Sneath sk - aaa 


supsqo shej no stislugnsihor tnsigind A .1 


smn os8 J ene 802 LH woodsT xe SuditA 


supego sbej a2 sberg ob ongizal -¢ 


fam 8c) HH woodeT xan SudimA 


re Ted 3 Aa} tts i 
a 2 “ve oe, . 
od i a Yde™ Z . 
im oN e ae a mai ee 
~ hes ng "i an - 
ee a % 
a: ote 


1. Redtangular vessel in opaque jade. 
Probably Chou dynasty. H. 2”. L. 3°825”. 


2. Badge of rank in opaque jade. 
Probably Chou dynasty. H. 233". 


1. Récipient rectangulaire en jade opaque. 


Attribué aux Tcheou. H. 508 mm. L. 820 mm. | 


2. Insigne de grade en jade opaque. 


Attribué aux Tcheou. H. 608 mm. 


1. Rechteckiger Behilter aus undurchsichtiger Jade. . 


Wahrscheinlich Chou Dynastie. H. 508 mm. jit 820, mm. 


2. Rangabzeichen aus undurchsichtiger Jade. 


Wahrscheinlich Chou Dynastie. H. 608 mm. 


ye Py ae i i 

ay An md . A 

’ eR MAROG He 5 « 
% . Z a ‘7 J ty hee i sheet 
rei . Poet 


wae 


Fy 


be lo gai us 
xs ea vod yidsdorT 


2upsgo sbej eb tolsosi 


mum pir. woods T xus dudimA 


i 


ainomdiay 00 od, ob veoonA . 
Me be Se ue 


1. Bracelet of opaque jade. 


Probably Chou dynasty. D. 4°5”. 


2. Ring of jade for ceremonial purposes. 
Probably Chou dynasty. D. 53". 


1. Bracelet de jade opaque. 


Attribué aux Tcheou. D. 114 mm. 


2. Anneau de jade pour cérémonies. 
Attribué aux Tcheou. D. 130 mm. 


1. Armband aus undurchsichtiger Jade. | 
Wahrscheinlich Chou Dynastie. D. 114 mm. a 


2. Ring aus Jade fiir Ceremonialzwecke. - 
Wahrscheinlich Chou Dynastic. D.130 mm. | 


§ 


.* 


'« Ca 1 


-brot & to eomot oi at loazey tnioAinose obs] 


HH aiean yb gree 10 enti fideo 


_ va 
es 


busier aly efoto obs lone as ob aan 


a s 
an Opt HE grande wo Lin samarldedo 29d 


MR 


oN ae ae je ane ee bois —. 
pa "Ss! We 
a 4 pom 4 ‘ » 


Jade sacrificial vessel in the form of 2 toad. 
Possibly Hsia or Shang dynaity. H. 5-75"- 


Vase de sacrifice. Jade en forme de crapaud. 
Probablement Hia ou Chang. H. 146 mm. 


ve 


-obs{ tnsoulenew-imoe ci oxA Isinogie.D 


r a 
ay ’ 3 


= 


1s i ~ ‘ = We . « a 
rae r . ws ‘ : 
e 


4 2 Saveqecibal tnige bel” ainoatinds a odboal 


‘ 


*: 


a er He ashi : a | me 


eile aie tage : & 


- : “abet es: ae os b linhdg® mn 


Ses 4 uf 


2 Mpa a gor H ian oH 5 


’ 
ay 


Ceremonial Axe in semi-translucent jade. 


Han dynasty. H. 6,5". 


Hache de cérémonie. Jade semi-transparent. 
Han. H. 163 mm. 


Opferbeil aus halb durchsichtiger Jade. 
Han Dynastie. H. 163 mm. 


=. 


shag 9 175 oat) ait, ver 


ois rays qe <¥ 


“Srehnqgange 1 ier at #9 sal 
shel : 


ortir ey, Ral Mone E 


< Bhi saint “pind euP stub rt a 


ee i ee a “abagshyait 


Dish in translucent green jade. 
T’ang dynasty. D. 103”. 


Plat en jade vert transparent. 
T’ang. D. 266 mm. 


Schale aus durchsichtiger griiner Jade. 
T’ang Dynastie. D. 25-06 cm. 


a 


Vase in translucent jade. 


Sung dynasty. H. 38”. 


Vase de jade transparent. 


Vase aus durchsichtiger Jade. 
Sung Dynastie. H. 92 mm. 


\ 


 aisbsj ni Joq-dewiAl 


Ste A yfonyb antY yidieeod 


ottobre, do-xunsoniq-ono0d 


att <6 H (5) asuY 


Sishsbeus Iqenloenit 
CD) Flaw, = 


’ 


amar <0 Fs Prog acy pzrovatorloilnoM 


.. eyed et ae 


Brush-pot in jadeite. 2 
Possibly Yiian dynasty. H. 313”. 


Porte-pinceaux en jadéite. 


Yuan (?). H. 97 mm.» 


Pinselnapf aus Jadeit. 


Méglicherweise Yian Dynastie. H. 97 mm. 


UIAXXI 


yaors1s9 sgsitiem s 10) oidet [simeqml 
-bauorg Rud 


eyo 's A (i asW) yeeayb gaiM 


b noiterds0 woq elcitaqent sldeT 
ziomeds haol we 


min 1y HO {id asW) gai 


7 , ean 


-haurgiinU monuerd 


Ee | al 


Imperial table for a marriage ceremony. Carved red lac 
buff ground. ey 


Ming dynasty (Wan Li). H. 2! 6-75". Top Jie 


Table impériale pour célébration de mariage. 
sur fond chamois. 


Ming (Wan Li). H. 781 mm. Dessus 844 x 1,194 1 


\ +5 
Kaiserlicher Tisch fiir Hochzeitsriten, geschnit 


braunem Untergrund. 


Ming Dynastie Bikes Li). H. 781 mm. Ticplate ag 


a7 
- 
‘ 
‘ 
‘ 
ike Road ae 
. CP 4 
Ba hs fa 
itchy see 
Wate er 
ti , x re) 
* haa n 4 
Pres, ie te 
rns ’ me Fy ay ak fee Ie 
a ee wae air 2 
~~ > je x vy ” } 


VIZXXI 


Os ail 


‘ <5 ¢ Sigips ral tat he nea Bane |e = 


SNES NBR“ See Lied son ag el - Ae mut . - - 
ap = = me, eblitt £oOf AL a 6) i ie o ) tte, < Rhee 4 P a - 
Fee . * i RG pe 

atts, * ’ teks GX | : 


i, Liters First a miisdow, aus aio ee 
| | nT sano a a ped 


= 
5 es-~ 


og ged WZ es RS PO yy 
ay ed a + ; 
. Z ba E. \ i - 
<_ : 2 fx a ot 
ip eo 
, awa a 
. i), a 
Brat so en 
jal Ry ny ema Cy 
on - 
ag My 
‘ 
; - oe 
% 


Bowl of woven bamboo with central panel in iecueel a 
Ming dynasty (Wan Li). D. 113’. : 


Bol en bambou tressé. Décoration centrale en laque. is x 


Ming (Wan Li). D. 292 mm. ; : a 


Schale aus gewobenem Bambus mit Mittelétiick in 
Ming Dynastie (Wan Li). D. 292 mm. a 


\ 
me c. 
< pat 
A 
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+ 
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SS 


pio Bemanpsl GERM 0 Isinone> Whew fa 


foleene «ape bac iupoel bx howageas Y IOV 


a 
Bis 191 pate os!) eeeoyh aM a 


E « bongg 


; ao 


r.. ae 


rox Ee 


ec eee . ° ] & ; PY, =. " 
Bb Runde eee 1 Sie ee. | visor: ob o1kpapA 


ise sitar ab 39 ot jlirse ayia oupal 


ao 


Wareesss S ceieia eesti) (id os) See 
nl. SP Betas ae eee | tk L ) emi “ 
Tee es ove ee By | 


Se 2 


Set hE ees A tg x Th, Snare an 


Sry est Edt ar tel pil ul Jinn . 

} ~~ ” *. — ‘) a ; Mi 4 

"4 ee F ata r 4 : “ " 
toi olodial oie VF oadennyC! oni 


7 ag sunt Oe JH 


Ewer for ceremonial use. Black lacquer on pewter er a 
ivory carved red lacquer and lacquer composition. ‘ = 
Ming dynasty (Wan Li); panels restored in Ch’ien Lung 7 

Victoria 


Aiguiére de cérémonie. Laque noire sur étain, incrustée : d ait 
laque rouge sculptée et d’un motif de laque. a 

Ming (Wan Li); panneaux restaurés pendant 
H. 356 mm. 
‘ Vict 


e ¥ 


Wasserkanne fiir Opferzwecke. Schwarze Lackarbeit au 
mit Muscheln, Elfenbein, roter Lackarbeit und Lackkomposi OL 


Ming Dynastie (Wan Li), Mittelstiicke restauriert in der C 


H. 356 mm. a3 
Victoria und 
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seta cabeeiceee™ 


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wats ao ; Py : 
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wb schrigly satpitme one sigped deel a aii tia! 7; Road 
Ss ee : So AE Ae Ad “sil gt ae % 
3 os : = 4 p , eS aie 2 
“dex a i 
as is = J ni: ; u - ¥ 4, 
Sd. sn mad aouszendl: me? £ pla acanigons boas a a 
vie vd ze a. anus cs 4 “ates e “gouty ne ae 
5 ES ee ee eee a. 
rola: ‘ ; ; et < es 
‘a 2 i * eo & gy 
- tae ene ae = 
: = ae a ey, Meee 
Sisk s # fet 
3 a as 2 tea i # Live 
se. = . OE : 
oe : ; Es . 
Z on x ra ee = 
Pde 4 


7 ero 
ie Si + - 4c 
ih. = 4 he 
+? 
. 
+ 
. 


Cover of a bowl in carved brown lacquer with circle of 
Ming dynasty (late). D. 10!. | 


Couvercle de bol. Laque brune sculptée, cerclée d’or. _ 
Fin des Ming. D. 254 mm. oe . 


Deckel einer Schale aus geschnitzter beatiner Lackees mit 
Spite Ming Dynastie. D. 254 mm. Ns 


IVREKI 


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A dstur P op i zo01wd- oenaggil 


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See ‘ . 
ar £ = 
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ey. v 


— pate lsoy obi, Sb Tornier SsupeT %) aera. oleh, : 
an ens - <a rf . 


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bit 2 es ren SS SBA Vek +} gaily, ab ft 


# “a “ 
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resi cad Yar iny? ahs at *Ue peliucatiow 
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Pu 


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e 
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= Tia) ie uf nt Soe 
or Pp ; 


7 


Incense-burner in lacquer with carved jade finial. By 
Ming dynasty (late). H. 18”. . 


Brille-encens. Laque. Sommet de jade scu pt 
Fin des Ming. H. 457 mm, 


“ 


fips. 


= 
gages we Ta ae ee ee ‘ 7 
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Panel Bs a 12-fold screen in “‘ Coromandel” lacquer. 
Ch’ing dynasty (K’ang Hsi). — | 


Panneau d’un paravent A 12 feuilles en laque | 
Ts ing (K’ang-hi). ‘ 


Pancel aus einem zwilfteiligen Wandschirm, Ko 
Ch’ing Dynastie (K’ang Hsi). 


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LXXXIX 


Panel from a 4-fold screen in gold, red, and brown lacquer encrusted with 
ivory, shell, and hard Stones. 
Ch’ing dynasty (K’ang Hsi). H. 3! 2°25”. W. 1! 9”. 
Victoria and Albert Museum. 


Panneau d’un paravent A 4 feuilles. Laque brune, rouge et or incrustée 
ape ae : 
d'ivoire, d’écaille et de pierres. 


Ts’ing (K’ang-hi). H.97 cm. L. 54 cm. ; 
Victoria and Albert Museum. 


Paneel aus einem vierteiligen Wandschirm, gearbeitet in goldener, roter, und . 
brauner Lackarbeit, eingelegt mit Elfenbein, Muscheln, und Steinarten. 


Ch’ing Dynastie (K’ang Hsi). H. 97 cm. B. 54 cm. 
Victoria und Albert Museum. 


esl £ = ~ i : 
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Bolte avec couvercle; laque rouge sculptée avec incru 
pierres. 


Ts’ing (K’ang-hi). H.178 mm. L. 381 mm. I 


Schachtel mit Deckel in roter geschnitzter Lack 
anderen Halbedelsteinen. 


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Throne of the Emperor Ch’ien Lung. Carved red | 
inner layers of olive green, brown, and yellow. 


_ Ch’ing dynasty. H. 3! 11”. L. 4! 14”. W. 3 


Tréne de l'Empereur K’ien-long. Laque rouge 
olive, brun et jaune. 


Tsing. H.1m.194 mm. Lit m. 257 mm. ee 


Thron des Kaisers Ch’ien Lung. Geschnitzte rote 
Lagen von olivgriin, braun, und gelb. 


Ch’ing Dynastic. H.1m.194 cm. L. 1. m. Re 


cm. 
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Vase from the Summer Palace. Carved red lacquer 
mount. . i ee ; # 


Ch’ing dynasty (Ch’ien Lung). H. 3775”. 


Vase provenant du Palais d’Eté. Laque rouge sculptée a 
dorée. . Be: 


a 
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Ts'ing (K’ien-long). H. 952 mm. 


meee aus dem Sommerpalast, geschnitzte rote 
gestochenem Beschlag. 


Ch’ing Dynastie (Ch’ien Lung). H. 952 mm. 


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Ch’ing dynasty (Ch’ien Lung}. Hy 2 695% W. 3! ; 


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Vidtoria 


lapis-lazuli. 


Paneel aus roter geschnitzter Lackarbeit, ei 
imitiertem Lapis Lazuli. eos. 
Ch’ing Dynastie Ch’ien Lung). H. 781 mm. 


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of green and buff. 
Ch’ing dynasty (Ch’ien Lung). H. 36:5’. 


sur vert et pees 


Ts’ing (K’ien-long). H. 927 mm. 


Kaiserlicher Stinder fiir Obst und Blumen aus eae 
mit unterlegten Lagen von griin und braun. 


h’ing Dynastie (Ch’ien Lung) -H. 927 mm. 


ce 
Hapoel f 


XCV 


Panel in carved lacquer. 
Ch’ing dynasty (Ch’ien Lung). H. 5/3”. W. 3! 2”. 


Panneau de laque sculptée. 
Tsing (K’ien-long). H.1 m. 600 mm. L. 965 mm. 


Paneel in geschnitzter Lackarbeit. 
Ch’ing Dynastie (Ch’ien Lung). H.1 m. 600 mm. B. 965 


; MS . , 


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XCVI 


Potiche. Laque rouge sculptée ajourée sur vert et chamois. 


/ 


Ts’ing (K’ien-long). H. 397 mm. 
Victoria and Albert 1 


Vase, eine aus einem Paar, in roter geschnitzter Lackarbeit auf griiner 
brauner Unterlage. ee 

Ch’ing Dynastie (Ch’ien Lung). H. 397 mm. oe 
Victoria und Albert ) 


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Stand of picnic set in lacquer. 


Ch’ing dynasty (Ch’ien Lung). D. 8§/". 


~ 


Socle d’un coffre de table portatif, en laque. 2 
Ts’ing (K’ien-long). D. 228 mm. 


Stinder eines Picknicksets in Lackarbeit. 


Ch’ing Dynastie (Ch’ien Lung). D, 228 mm. © 


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Jeu de plats 4 friandises. Laque bleue. 
Ts’ing (K’ien-long). D. 350 mm. 


Satz Konfitiirenschalen in blauer Lackarbeit, verziert mit 
Ch’ing Dynastie (Ch’ien Lung). D. 350 mm. ae 


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Late eighteenth century. 11! 8” x8! 4!" 


Tapis de laine. Neeuds du genre Sthns Baviion 60 au d 
chaine de coton. 5 


Fin du 18° s. 35-6 cm. x 25-4 ae 


Baumwolleinschuss. 


Ende 18, Jahrhundert. 35-6 cm. x 25°4 cm: tpi 
Victoria und Alt 


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Wooden Statue of Kuan-yin. 
Southern Sung dynasty. H. 48’, ee ses es 
Eumorfopoulos C ollettion. 


Statue de bois de Kouan-yin. 


Song du Sud. H.1 m. 20 


Holzstatue Kuan-yin. 
Siidliche Sun Dynastie. H. 1 m. 20. 


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